The entire site was excavated to four storeys below street level. The London clay that had laid silent and compacted for millions of years was suddenly being charged with a fluid energy as it was moved from one pile to another, picked up by one digger and fed to the next and then to a final pile where the entire volume of clay was divided into individual lorry loads.

Fascinated by this repetitive act, I asked if I could continue on the clay's journey and ride in one of the lorries to where the clay would finally rest again. I also asked if I could line the back of the lorry with paper so the clay would leave marks there as a drawing. Carey's, the contractor carrying out the ecavation, told me the weight of the clay would drag it out but were happy to experiment with the idea. After they were proved right they suggested using sheets of plywood instead, which they supplied for further experiment. At the tip a bulldozer made the final cut marks in these sheets as it searched tentatively for them beneath their load of clay.

In using tools, materials, objects and processes integral to the build, images are created which embody and articulate that environment.