Another antecedent to Enshrinement. At the time, I was ambivalent about this work. It was too rigid, formal, structured without a sense of itself. But as I place it in the same place as I have photographed others, it shows a different character when in the context of the kilns and the studio.

It was in fact, an experiment for the embedding of sound. The idea as I mentioned in a post, was to seal the chamber and give the sound no means of escape other than through its walls. In retrospect, perhaps this was a way of expressing my difficulting in breaking through with what I had in mind at the time. The plant-like, vessel-like allusions are a call to past work. I had not yet unfettered myself of these paradigms. The piece was to be polychromed with glaze, a playful piece. I remember that at the time, I thought this decorative element somewhat superficial to my aims. Its image, in the studio, acts as a symbol of standing on a threshold: formed and unformed. It is an aesthetic reminder of how things have changed.