I used my participation in, "1984 Art in Dunedin”, to risk extending my work process.

My question was whether I was able, to handle a totally NOW situation, by taking no preconceived work notion or material with me to Dunedin, find a site, make a work in four days and cope if i failed. Having had my air fares paid by the project, I gave myself permission beforehand not to be obliged to produce a work. The experience was liberating and possible at this type of artist organized event. I chose the cathedral steps in the Octagon with its steep and long flight of marble steps, as my site. Over the following days I collected hair from 15 hairdressing salons in the central city, wove the hair into a wire mesh support and fitted three trickling forms from the doorway at the top to the bottom of the marble steps. The work process flowed, the concept extended ideas i had previously been working with pertaining to subverting the official image and the form the work took was site specific, and ephemeral.