This work looks upon the semiotic exchange between artist and audience. It postulates the nature of transfer between the artist and an audience who does not receive the meaning of the work; glancing, passing by.

The text that constructs the work has been extracted from stanzas of poetry, from the writings of Oscar Wilde and Oliver Wendell Holmes. The title of the work comes from Holmes, and from Wilde:

Like two doomed ships that pass in storm

We had crossed each other's way:

But we made no sign, we said no word,

We had no word to say

The two interwoven stanzas present the idea of an absence of exchange between two parties. Rather than a sense of foreboding, of aching, desperate distance or melancholy which existed at the thought of being misunderstood by audiences in earlier work My Greatest Fear, this work differs greatly in mood. It instead displays an appreciative sense of calm and almost elation, that exists with regard to the artwork as a fog of semiotic medium. This gap of meaning transfer here becomes a welcome divide, as if the space between the artist and viewer has become a breathing space, a relief.

And Silence, Like a Poultice, Comes, To Heal the Blows of Sound, 2013; Acetate, plastic, tacks, and ink; Dimensions variable, 150 tiles, each 4 x 6 cm