Steel, porcelain, fibre
6000cm x 250cm x 200cm

This installation examines place through Docklands as a confluence of routes, tides, and circulations that continually redraw the waterfront. Attenuated porcelain forms are suspended along the harbour’s edge, tracing lines that follow and deflect from shipping channels, ferry paths, and pedestrian desire lines around the water. They operate less as representations of infrastructure than as delicate instruments that register how movement carves and re-carves the site.

Surface treatments and firing processes invoke hydrographic and meteorological patterning, suggesting tidal surges, residual wakes, and the meeting of river and bay. Hung just above eye level and over the water, the porcelain elements respond subtly to changes in air and humidity, translating atmospheric and tidal variations into barely perceptible oscillations. In this way, routes are understood as rhythmic negotiations—of tide and channel, vessel and dock, body and boardwalk—so that circulation itself emerges as the primary material from which Docklands is continuously composed.