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The View from Here   

Resin, acrylic, vintage photos, wood

22.86 x 21.59 x 38.1 cm (9 x 8.5 x 15 in)

The concrete reads as a marker.

It is meant to.

The head above it is clear but not empty. Photographs are suspended inside, fragments of lives already receding. They cannot be handled. They cannot be reassembled.

Two slender rods extend from the eyes, defining the direction of sight. They measure what can still be seen.

The work does not suggest escape. The head is already aligned with the stone.

It suggests something else: that even when the end becomes visible, the act of looking persists.

Note: On Construction

The concrete base was poured first.

The rod could not be fixed until the mixture reached a specific stage, firm enough to hold, not yet fully set. During that time, the head was braced within a temporary wooden frame.

The scaffold was not aesthetic. It was necessary.

For a period, the piece existed in tension, suspended above wet concrete that would become its marker.

Once cured, the braces were removed. The support disappeared. The rod remained.

The illusion of suspension conceals the fact that it was once held in place by force.