Throughout my time on this planet I have lived in Many different places, here and New Zealand and overseas. My time in New Zealand is best defined by significant moments in my life, where I felt the most connected and disconnected, yet these 3 places I am about to disclose are seemingly those places I have been intuitively drawn to for my Masters project. I have lived long enough in step with my spiritual existence to go with the callings of the heart and soul, as to push against the flow of the light is to blind oneself and fall into the darkness even further..... The places of this journey mark the beginning and end of significant upheavals and changes in my life, whilst at the same time, as I am discovering, hold massive power in their own inherent power. Not only that, they triangulate forming a perfect right angle triangle over the entirety of central Canterbury, my home in this Lifetime.

Marquette for "The 12" lightbox installation 2005

• Although never realised this proposed installation was due to be installed in the Christchurch Art Centre, however I was unable to secure funding at the time.
• The work proposed a narrative exploring the 7 chakras or energy centres that exist within the body, with different photographic light painting patterns in each lightbox.
• The number 12 features significantly not only in Christian dialogue with the 12 apostles but also in Maori cosmology with the 12 heavens, as well as the 12 astrological star signs, to name just a few.
• This work was originally inspired by the knowledge in the Song of the Waitaha by Barry Brailsford. Song honours the number 12, namely by the chosen 12 who traversed the great southern alps in 7 days opening the 7 gates of the peace trail, retracing the steps of the Waitaha ancestors and reinvigorating their lore.
• Carrying the format forward, I feel strongly that the arrangement of my Masters sculptural work should be circular and/or symmetrical.
• From a place of enclosure one can face upward, or outward, knowing we are contained within the sanctuary of the circle.
• There are plans to realise this sculpture independent of my Masters studies in 2021 to be exhibited at a two notable light festivals in New Zealand, if funding allows. -> (The 12 give-a-little link is coming soon)
• The installation process of this work will help inform the technical aspects of my final Masters project.
• The depth of knowledge incorporated in the Song of the Waitaha bridges gaps of ancient knowledge that must be carefully praised and represented hence the diluted explanation offered here, but will duly follow and be told once this piece is finally installed.

Proposed materials: Steel light boxes with perspex lenses and solar powered LED lighting systems.