​Floorplan 
​Manu Exhibition
Finnish Academy of Fine Art Gallery
​Helsinki Finland, 2010.

“Naomi Lethbridge shows a lot in her drawings, especially that which is not shown. Antony Clarkson shows through everyday elements how the normal everyday can be beautiful in an installation. And so does Sean Green with her pretty organic and conceptual works - even in trying to avoid too much extra thinking. Clara Casian with her sculptures and animation shows how a simple idea can give a lot.” Petri Hytönen, 'Manu' Exhibition Catalogue, 2010.

​Floorplan constituted a methodological departure from my established practice. Prevented by geography from undertaking a preliminary site visit, I was required to formulate a spatial response through mediated representations: photographic documentation of previous exhibitions and a digital floor plan of the building. These exclusively two-dimensional materials disrupted my habitual process of embodied spatial encounter and initially generated uncertainty regarding the possibility of achieving the degree of situation-specific resonance I typically seek.

​However, the condition of distance, both physical and cognitive, proved constitutive rather than prohibitive. The gallery was encountered as image, diagram, and translation, already interpreted through the perspectives of others. The architectural plan in particular assumed conceptual primacy. Its flatness, abstraction, and status as a transmitted document reframed the site not as a directly experienced environment but as a mediated construct. In this way, the work emerged from an engagement with representation itself: the gap between site and image, presence and projection. The spatial and conceptual distance became the operative ground of the installation, transforming absence of direct access into the central structural and epistemological premise of the piece.

Ultimately, Floorplan reconfigured site-specific practice as an engagement not with the phenomenological immediacy of place, but with its mediated construction. By embracing distance, translation, and representation as primary conditions rather than limitations, the work foregrounded the ways in which architectural space is already abstracted, codified, and circulated before it is physically encountered. The installation thus operated within the gap between diagram and embodiment, proposing that spatial knowledge is always partial, relational, and contingent. In doing so, it extended my ongoing investigation into the structures, material, institutional, and conceptual, that frame both the production and perception of art.