The EXPANSION WORKS began with an obsession with renegotiating the skin: questioning where things and events begin and end.
STILL RUNNING was an attempt to translate a drawing called EXERCISE BETWEEN BLOOD AND EARTH into three dimensions, repeating the silhouette of a running man both inside and outside the delineated form. All forms become egg-shaped if their skin is repeated, achieving an equilibrium between stasis and potential.
The EXPANSION works apply this process to the body in dynamic motion, moving bodies either in self-locomotion, as in STILL LEAPING, or in positions where the body is the subject of movement, as in STILL FALLING. (EARTH is derived from a body-mould in a free-fall position; BODY AND FRUIT in a clasped diving position.)
All the pieces are based on moulds of my own body, but I gave up the obsessive repetition of the skin which would have resulted in a plaster form that weighed several tonnes. I discovered that it was possible to extend the form through the application of a consistent measure by using wooden spars radiating from nodal points at the extremities of the body. They were linked together at their outer ends to form a continuous surface where the feet, hands, buttocks and head become the foci of a number of domed forms that coalesce. The process transforms bodily movement into a totally different form of motion: contained explosions or an expanding universe.
Cast in iron, the works are all weighty: EARTH weighs 9 tonnes, BODY 6 tonnes and FRUIT 1.25 tonnes. The pieces are hollow and core pins punctuate the surface.