In Absentia’s virtual presence fuses ancient materials, symbols and forms with the intangible, bringing absence into being. Two crystal-glass I-figures rise from an Ionic stone column shaped from studies of the Acropolis columns in Athens. Translucent and reflective, the curved text-number-symbols incline toward one another, curving into an incomplete arch. They lean in but do not touch. The glass glyphs oscillate between states of being, evoking relationships and structures: individual and collective, human and spirit, mind and body, presence and absence. Their interplay remains unresolved, evoking a split personality, a perfect coupling, sparring partners or sovereign states in debate or accord.

Carving space as material, the large-scale sculpture is feather-weight. Its structure defies physics and gravity while relying on their propositions to articulate its form. The centred void becomes a keystone, without which arched structures would fall.

Activated by viewers using mobile technology, In Absentia inhabits an uncertain threshold between material absence and perceptual presence. The body moves through and around a structure that appears to exist yet dissolves on touch. Manifesting as endless multiples in public space, the sculpture opens a shared space of encounter, where individual perceptions and collective experience converge.

Across successive activations in places of cultural, historical and geological significance, In Absentia enters into dialogue with the histories and meanings of each site. Its shifiting presence forms an evolving meta-narrative of ancient origins, cultural memories, and what remains in absence.