The whole process began by producing a digital maquette and setting it within the virtual site. Using digital sculpting techniques I was able to accurately simulate the fall of shadows and control the expression of forms while developing the sculpture to its final state. I then extracted and refined patterns for the cutting of the 44,879 pieces of Corten steel that came together in the completed piece.
I respectfully acknowledge the Wurundjeri Woi-wurrung people of the Kulin Nation, the traditional custodians of the land on which I live, work and make art. This is Stolen Country, the sovereignty of which was never ceded.
I pay my respects to Elders past present and emerging and stand in solidarity with all First Nation peoples, and recognise their continuing connection to Land, Waters and Culture.
Always was, always will be.