 pieces attempt to materialise the space of architecture and our place within it. I used the lost wax process to cast a void in the form of a body inside a concrete block.

, the void of a fully extended body in a cross-shaped block of reinforced concrete. The cross was in the body before the body was nailed to the cross and before the cross appeared in architecture.

 takes its dimensions from the minimum space necessary to enclose the body in a contracted form, and is a crouched body inside a cube. The head projects from the block so that the cavity of the head is visible, and in this work you can easily see the void behind the impression of the skin.

The concrete works are placed axially so that the faces of the blocks relate to the walls, and the compression of the internal body-shaped void relates to the surrounding architecture.

 is a standing piece with the top of the head projecting from the block, the hands with their palms turned outwards pushing against the side of the moulding box. 

 encompasses the horizontal body with limbs extended in all directions. 

 contains a void of the body fully extended in a straight axis. 

, but in the position of prayer where the knees, the soles of the feet and hands all break the surface of the block.

Concrete Works

, 1990, concrete, 36 × 198 × 174 cm. Photograph by David Ward, London.

Flesh

, 1991, concrete, 74.5 × 62.5 × 60 cm. Photograph by Stephen White, London.

Sense

, 1991, concrete, 181 × 50.5 × 36.5 cm. Collection of Iwaki City Art Museum, Japan.

Immersion

Home Of The Heart I

Home Of The Heart II

Home Of The Heart III

, 1993, concrete, 32 × 160 × 164.9 cm. Collection of Museum Voorlinden, Wassenaar, the Netherlands.

Base

, 1993, concrete, 134 × 68 × 55 cm. Photograph by Stephen White, London.

Concrete Works

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