The word cross is identified as an upright with a transverse beam, or the intersection of two directions, as well as the ability to move or pass from one condition to another. In the cruciform ceramic markers forming this installation, "Five Intersections Transposed," all of these definitions may be inferred. In addition, these ceramic posts with their double crossbars may be interpreted as symbols relating to Christian beliefs, or these markers may be viewed simply as pagan symbols. The forms themselves have been altered by fire and transformed into an indelible part of our environment.

From earliest man to the present, rituals dealing with life and death have been integral to the human condition. This could be seen in the early cave paintings that symbolically sustained life by means of simple images representing the capture or killing of animals. This process may have liberated the spirit of the animal, as well. With regard to death, diverse burial practices have evolved over time, ranging from the most simple to the most elaborate, with or without accompanying identifying symbols or markers. Some cultures have practiced cremation in order to reduce bodies to ashes. Conversely, other cultures have gone to great lengths to preserve or mummify bodies, placing them above or below the ground, as customs dictated.

A number of cultures have moved symbolically beyond the physical fact of death to free the spirit of the deceased, such as in ancient Pre Columbian Americas. These kinds of transformations have resulted in an array of ritual practices, including the recognition and development of sacred spaces. Such practices and beliefs encompassed the use of precise astrological calculations to define the orientation of particular architecture, to situate entire sites and to distinguish, or even construct, sacred landscapes. My anthropomorphic cruciform ceramic markers signify a union of the past, the present and future. Their ephemeral connecting shadows link tangible and intangible associations and definitions. These same shadows expand the metaphorical sacred space surrounding the installation, as does “Traces,” the graphite drawing composed of several cloth wrapped figures and placed directly above the central ceramic marker.