Whilst the concept of sculpture Circus will seem to break away from tradition in almost every way, there is no conscious Rejection of those traditions. It was conceived to appeal to the average family - catering for young, middle aged and aged alike and is therefore the total result of these criteria and in so much naturally conflicts with all we consider both as art forms and in its environmental dialogue. It is conceived to be a complete and absorbing experience, both exciting, entertaining and artistically unique, a merging of Disneyland, Hollywood, Pop Festival and a Blistering passion for art. There is however, no compromise within the exhibition as a result of these criteria, each and every piece is completed to the same academic quality as one would expect to find in any traditional exhibition. The demand for quality is more seriously pressured by the very fact that it breaks away from tradition, since originality is traditionally subject to higher inspection. To overcome that reaction, each piece must be without doubt in its own perfection.

‘Stations’ is a conceptual sculpture inspired by “The fourteen Stations of the Cross.” The work is produced as a flat-pack in the style of modern furniture producers such as MFI or IKEA. These companies mass produce furniture in component parts which the purchaser can take away and assemble at home. In the same way “Stations” is produced in component parts and is reproduced several times, imitating the flat-pack, which allows the sculpture to be shown in a number of places at the same time. The original fourteen individual Stations of the Cross are replaced with fourteen parts in the process of assembly as directed in the instruction sheet seen lying alongside the components. You will have noticed that just like the original, each step leads irrevocably to the Crucifixion.
One intention of the piece is the reading of the instruction sheet in the presence of the man sized component parts. At a certain point of the reading you will become aware of its purpose and the impact is much the same as that which the original viewers of the Stations of the Cross may well have experienced. Also during the process of reading the instructions, you will have automatically assembled the components in your minds eye and the need to assemble the parts becomes unnecessary for the work is designed never to be assembled but simply lie in state as a symbol of mans potential violence.

“ Stations” is displayed flat on the floor with the carton having just been opened. This imitates the flat-pack construction process and forces viewers to look down on the components of the cross. Walking close by the work, will possibly leave footprints on the edges of the card and in so doing add a further metaphor of being downtrodden.
The open carton shows what appears to be the manufacturer's name I.N.R.I. but, as the instructions indicate, is a cut out sign for the top of the cross and of course means
“King of the Jews.”
The work represents the ever present choice of good or evil yet ironically in this sculpture, choice is denied as it is presented in a way that insists that you follow its instructions in a strict and obedient order. Much like those who carried out the crucifixion you are expected to follow these instructions without passion, guilt or any sense of responsibility.
The Latin “Via Dolorosa.” (The Way of Sorrow) is a concept reflected in the essential journey whilst delivering the sculptures to each of the Cathedrals during Holy Week. The entire program, from production to installation is just as important a part of the concept as the flat-pack cross itself. A reference to Pontius Pilate “Total responsibility for our own actions.”