With hindsight this series marks a transition away from the engagement with particular places and histories, evident in the encircling of a shadow 2001. While using a similar approach of letting the site 'work on me' by spending extended periods time there and. as in Newlyn, researching its history, I found myself consciously avoiding interaction with the groups of dog walkers, locals and model boat enthusiasts I met - many of whom wanted to talk about their memories of the pool during its heyday - seeking instead to understand it as a physical and psychological, rather than social, space.

The use of the female figure extends preoccupations with presence and absence, the liminal and interim, evident in earlier works, conjuring a sensual relationship to landscape which never the less carries a charge of danger.

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