POST
HOC 

Vaporous Sculptural Act, 2014 complicates our expectations of permanence and monumentality – qualities often ascribed to public works of art. By employing vapour as a sculptural material, the work exists in a state of continuous change. Unlike the fixed forms of conventional public sculpture, it has no stable boundary, no enduring edge.

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Vaporous Sculptural Act suggests an unsteady proximity between the edges of the work, the land, the air – and perhaps the viewer's body. The work is less an object than a condition: atmospheric, temporary, indifferent to its own dissolution. In this sense, it shares something with fog, with breath, with the body's own emanations – materials that are present and then not, that register only as they recede. The sculpture does not ask to be looked at so much as inhabited, its meaning contingent on the viewer's willingness to stand inside something that will not hold still. Just as it is seen, it dissipates and vanishes, leaving only the memory of having briefly occupied a space between the material and the immaterial.