Fathom Series, Tangled Infinities. Installation image at Kaohsuing Museum, Taiwan 2009.
Hoop Pine, copper wire and acrylic stains 1440mm x 700mm x 25mm. The floor stencil components are dyed sawdust.
(In the accompanying video I've used 2005 Greenpeace footage of New Zealand ships dragging Ancient deep sea corals, over 400 years old, that had been ripped from the ocean floor, during Bottom Trawling in the Southern Ocean.)

The semi-circular works combine a lattice of complex jig-saw cut, and connected panels of branching forms to refer to the endangered ancient corals The works are embossed with text. The arch form, tangled pathways are seen both as a threshold and metaphor for the labyrinth. Using images that recur in my work, the arch, the branching form and the vessel, I am attempting to draw attention to the vulnerability and plunder of ancient underwater eco-systems and the arrogance of humanity. 
Connections are made to the work of artists who have previously explored the symbolic tree: Paul Klee, Joan Miro, Piet Mondrian, Constantin Brancusi, Jim Dine, Anselm Keifer and Shirin. As a symbolic form the tree first appeared between 3000-1000 BC and is a  It is a pivotal image in world mythologies and a symbol of life and immortality.  The tree image has a vast range of connections; from the fertility goddess of the ancient world, shamans’ ritual sand paintings of the American Indians, and to Persian Chinese and Indian miniatures. The tree form is represented in the religious iconography of Christ, Buddha and Mohammed. It appears as the Tree of Life, Tree of Knowledge, Tree of Memory, Tree of the Spirit, the Family Tree, the Sephirotic Tree, the Egyptian Celestial Tree and the Christmas Tree.