The first twelve works in this series were exhibited at Galleria Continua, San Gimignano, and use the same poses cast for the seminal work, CRITICAL MASS (1996). They range from a low crouching position to squatting, sitting, kneeling and standing - a basic syntax of human postures. Depending on its orientation, the same posture can convey a variety of emotional states.

The use of rectilinear units refers both to the idea of pixelisation of the human form, but also the rooms and buildings of our architectural habitat. The works put the formal purity of Modernist abstraction to work, to evoke human states of mind. Using the language of stacking, propping and cantilevering, they produce a somatic sense of containment, mirroring that which exists our urban environment.