The form ceases to be a continuous body and becomes structure. It is analysed and recomposed from multiple viewpoints. There is no single gaze and no definitive form.
I work the fish as an assembly of planes that sustain one another. Each part asserts something different, yet none contains the whole. The form no longer occupies space; it organises it.
At this point I enter into dialogue with Picasso, Lipchitz and Archipenko.

The form is no longer one. It now multiplies in movement.