I wanted to make the lead works more hermetic and enclosed, with greater internal pressure. Some are placed provisionally at the borders, fully interiorised and redundant, like STILL FEELING (CORNER) and (PROP); some, like LOCK, SHEER and CLOSE respectively, pull and flatten themselves against walls and floor - pitting their interiority against the rooms in which they find themselves.
I see the last phase of the lead bodycase works as a reaction against the pressurised, symmetrical, hieratic super-control of works like QUARTERS. In the three versions of LOST SUBJECT, the body is totally relaxed and at rest. I was keen to celebrate a sexuality that the previous work had repressed, while also acknowledging other aspects of the body as a "Lost Subject" in the time of the "Found Object".