Still Moving germinated in the aftermath of the September 11 attacks on The World Trade Centre in New York amongst the Tsunami of media imagery generated by the tragedy.
The work was carved, constructed and polychromed from intractable Ironbark, salvaged from local colonial infrastructure which itself was harvested from ancient forests along the Brisbane - Meanjin if you prefer - River.
Four male figures walk calmly, prosaic stuff when removed from their context, escaping the tragic events of that day in lower Manhattan.
Twenty-three years later the storm has not abated. If anything, it is more toxic.
There has been a lot to absorb while the century has surged forward; seismic technological, social and consequently, political changes have occurred.
What remains?
Are we ever more or less desensitized to that toxic flood of imagery?
In Ironbark, the figures have become historical anomalies since their first iteration back in that period, as no doubt their maker has? The “shock of the new” has given way to the incongruity of a snap of frozen time.
