1996-2000

Human Tablets, 1996, fired clay with specific lighting.
Maquettes for Pneuma 01, 1997, plaster of Paris with very subdue English summer dusky light.
Suspended Figures 01, 1998, two thin-shelled panels of fibreglass-reinforeced water-based polyesther/ wired, with specific lighting.
Suspended Figures (successive views) , 1998, two thin-shelled panels of fibreglass-reinforeced water-based polyesther/ wired, with specific lighting.
Prana, 1999, installation of sculpture with specific lighting, wood and fibreglass-reinforeced water-based polyesther.
Ether, 1998-2000, fibreglass-reinforeced water-based polyesther with specific lighting.
Pneuma (successive views of the same installation) , 1999, installation of sculpture with specific lighting, wood and fibreglass-reinforeced water-based polyesther.

The pieces represent the body of works generated from my doctoral research. It took almost one whole year before I could formulate my project. When I took off, it was almost as if I hadn't got a clue what I wanted to do; and all I did was pure instinct. Well, almost.

Ken Ford, a British Rome scholar, who was one of my second supervisors, as well as Andrew Stonyer's former PhD supervisor, told me off in front of Andrew during our first tutorial in Ocotber 1996,

"I wonder if you're capable of, or suitable for, a PhD."

Two months later, nobody raised that question ever again.