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2.

The theater seating area spreads fan-shaped up the slope, as does the vision of the eye from the walls below, to embrace the two sentinel columns through which one enters the theater.

The visual play of spatial openings and closures, a dual play of presence and absence, develops contrapuntal elements used in Pepper's earlier works -- earth-sky, solid-void, vertical-horizontal. For the artist, this relates to the persistent existence of memory in our lives -- buried within us yet often dictating actions and modes of life which we assume are spontaneous and free of the past.

As a result, the use of earth and natural elements represents the buried, yet living, informing knowledge of past experience. It requires that natural environament [[environment]] be used without altering its basic, natural state while investing it with the visual concept of the artist.

This is evident here in the use of a natural land slope and the wall bas-reliefs, a mixed media between painting and sclupture [[sculpture]] -- paradoxically being relief as pictures, then pictures as walls which, in turn, mirror the surrounding nature.

This concept has been used in previous site-oriented works by Pepper -- Sol i Ombra in Barcelona, Thel at Dartmouth College, and Dallas Land Canal and Hillside in Dallas as well as other works in progress, including a wall-relief for the Bedford project in California, and another sculpture park in Adachi City, Tokyo.

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