Commissioned as a follow up to his previous work in Kamiyama, Japan (±1.618034, 2004) it is evident that “Boundaries of Infinity” also draws heavily on inspiration from the work of Leonardo “Fibonnaci” Pisano, a 13th Century mathematician of Italian origin who’s Golden Number is one of the first recorded mathematical progressions attempting to unravel the hidden ratio by which natural organisms (and therefore nature itself) propagate in time. Opposed to the tranquil, natural setting the Artist found in Kamiyama, the setting for this second permanent piece - De Panne, Belgium – offers a relatively busy site amidst urban, vehicular and pedestrian flows. Alluding that the key to the whole may be unraveled even in observation of only a small part of it, the installation occupies only a small part of the site: a semi-circular green from within which a few trees, planted with a seemingly natural rationale, grow. The use of subtle perceptive tools has here been employed by Attard in an attempt to propose that one overcomes the disensitisation proposed of urban life and is able to appreciate the beauty and simple complexity of one’s place within nature. Opposed to proposing a pure copy of his previous work, Attard executes through “Boundaries of Infinity” an urban gesture showing an acute sensitivity to the particular nature of the site. The artists’ gesture is intentionally subtle, and emerges as a number of raw concrete sculptures that function as urban furniture and define a somewhat more intimate setting to the rest of the space. At the same time defining an enclosure and suggesting the space beyond, the concrete elements somehow define a space which is as adequate for small social gatherings as it is for solitary contemplation. Inspired by the way in which Fibonnaci attempted to define an order within the seemingly chaotic mathematics of life, Attard seeks to unravel and express the contradictions with which we define our very own perception of the urban space we inhabit. The very name chosen by the artist for this piece “Boundaries of Infinity” indeed alludes to the contradiction inherent and made apparent by the installation. The commanding presence expressed of the main concrete sculpture is intentionally juxtaposed against the illusive reflections seen in the pool of water below. The main sculpture itself, which reflections, solids and voids suggest a visual interpretation of the Fibonnaci Series and its fractal nature, emerges as an exercise in the delicate balance of presence and nuance. On the side of the concrete sculpture, the artist has imprinted a series of numbers. The series starts with a suggestive “1+1...” and continues with numbers that are subsequently the product of their own addition... the artist therefore alludes to the numerical nature of the spatial model displayed within the concrete sculpture and by placing it in the natural setting from which it was born, suggests one is immersed in the very fabric from which an acute insight and self-awareness may be derived – if only we are to temporarily substitute our urban sense of sight for that of contemplative vision.