On the day of its production the work became a process-based action following simple rules. During the exhibition of the work the same trolley of flowers used in the production was placed in the gallery alongside the 14 photographs providing a document of a sculpture that never existed.

One of the things I found interesting during the process of making the work was that the composition of each photograph was dictated only by the position in which the flowers were placed. In this way the aesthetics of Portable Border were directed by the process, rhythm, site and context of its production.

Later it seemed natural that Portable Border might continue as a running work so that with each instance of its production it followed the same system, starting with a line drawn on a map and then the season and the context would direct the type of flowers and the surroundings they might delineate. Subsequent formations took place in Darmstadt, Germany (2002) and Hackney in London (2004). The work now exists as a series of slides that document the lines passage in all three locations.