The cage, entitled Breath of Mind, is as witty as it is aesthetically beautiful, a condition that seems unnecessary and inapplicable, but which Attard wet-nursed for maximal play of solidity against flimsiness and dissolution - or physical decay - seen through the wrestling reflections of the imposing ochre structure on the green water. The physical nature of the grained wood and the harsh rope equates in importance the first idea for the piece itself. Attard is utterly seduced by the aura of landscape and its silent celebrity. His pieces concert emotionally and physically with nature, possible due to their high aesthetic pitch, a constant and essential point in his art. The two monumental projects are indeed another primary colour on his palette, and the frustration with painting is double in that the conversion from canvas to sculpture and architecture is incomplete. For Attard, materials have a double life: form and colour. This simply places his work within a comfortable distance from Minimal Art concerns with such monuments - where aesthetics was an unquantified qualification - and gives more relevance and power to his evolution and maturity into a complete artist.