And so what comes out of the work in progress as a work, this present moment, is the insistence of reception, perspective and how these relate to the hose-pipe stairwell; the reception of a work on the stairs, and the perspective of looking up and down in order to sustain that look, and the perspective of the tower itself, raising up and forcing ones glance that way, the stairs at this point force one down. At this point, the top of the stairs, one finds their perspective is at three places at once; up, straight ahead and down, the look of this space will be sustained, or more so than the stairwell, what is here will have to be received differently to the passing moments on the stairs. As one passes a stranger on the stairs, one feels for a moment cramped. How does one treat the stairs? As stage, as exhibition/installation space, as nullified space? If stage then the works becomes a protagonist, the installation relational, a nullified space for a museum piece (the redevelopment already historic in its absence). Where does one take the present from this point, remaining critically in it, insatiably in it, in it and in reflection of it. One remains with the material, with each fragment of text, to develop each, a work in itself, or to combine them and make them relational (as a still life).
