Endless began as a poem. A statement of how the artist views a rapidly changing society that should prioritize a world of curiosity and imagination. Make-believe given credence provided a fracture in which to investigate our relationship to the city, and by extension, ourselves. The piece’s physical transcription offered an opportunity to explore the complications of a life at once made real and made a belief: the harsh weather, ebbs + flows of people, stability of the steel, and the gentle passing of the clouds. This is not to neglect the interest and inventiveness through forums and discussions across seas that the piece allowed through social Art and Architecture. Public space was made and distorted by the interplay of form and materiality, walking the line between familiarity and illusion, with eighteen stainless steel planks crafting an uncanny valley from the city itself. The distortion became familiar as a sculpture, nestled under a mothering tree, became an object to check your hair, practice a performance, a recorder, camouflaged, a picture frame. Became endless.