The sculptural situation ‘plans’, 2003, crams into the front room at Heide I. It doesn’t fit the exhibition room. Against the furthest wall a stack of plywood blocks form a cube on an angle at odds with the exhibition room. It juts out into the room at an orientation of its own determination instead of aligning with the room’s walls. The exhibition room does not determine the space of the artwork, its ‘x’ and ‘y’ axes. The sculptural situation creates its own spatial axes. 

The space a sculptural situation creates is an ongoing process that begins so as to reach an end, a conclusion. Yet, its ending forever returns to its beginning. The work remains incomplete even though its form, its process, is a complete form.

Without a plinth’s elevation into a symbolic space, a sculptural situation remains on the messy ground of the everyday where it has to work to create, then recreate, its space over again. Its space isn’t a given. The artwork has to build it.

A sculptural situation is, therefore, a plan forever being built. The physical components of the work help to build its space. They, themselves, are not ‘the sculpture’ but always the pencilled-in parts of its plan.

In plans at Heide I, nothing of this ‘plan’ fits. It is out of kilt. 

The door? Well, it’s not been built yet. The rest of ‘house c’ has, but not the door. They forgot, somehow. Without it, we can’t enter to hang the painting as per our plan. They said they hope to finish it before afternoon tea. That’s at four.

At four o’clock each day visitors happened to be looking at ‘plans’, gallery staff would at that moment wheel a tea trolley into the exhibition room. The workers in the watercolours wait for afternoon tea before they can complete their task of hanging a painting inside House C. Afternoon Tea at 4:00pm creates a coincidence between the watercolours’ awaited moment and that moment taking place.

An exhibition brochure accompanies the work with a text that does not explain the work but is, instead, a background text.