My work, as proposed, was specifically focussed on the Euro-anomaly of the frontier between Poland, ex-Soviet-bloc, but now embraced in the European Union, and the Russian Federation territory of Kalinin. That this land was Prussian, once part of the Polish Empire, then German, as Koenigsburg, expresses the mutability of borders.

Railway sleepers are a charged symbol of border-crossings, and, raised as columns, become trappings of state, imperial power, and would-be permanence. The lead panels enforce the officialdom, but also seek association with Saturn, work and melancholia,

Working in Oronsko, certain of these specifics yielded to a need for universality. My theme of decay and transformation affected the base, with fire-ash from party-nights indicating the process of change. Discussions with other artists and visitors are essentiallyu reflected in the outcome.

Materials rejected from the main Frontier work found form in a secondary piece which documents a Scottish perspective on Polish cultufre, and my problems with translation.

Image of Peter Russell's work