The piece is inspired by the historical and cultural identity of Glasgow. The iconography of the fish and the ring are referenced from Glasgow’s Coat of Arms which represents the story of Queen Languoreth of Strathclyde.

The story tells of King Riderch's suspicion of his Queen's infidelity. He demanded to see the ring he had given her, which he claimed she had given to her lover. In reality, the King had thrown it into the River Clyde. Faced with execution, she appealed for help to St Mungo who ordered a messenger to catch a fish in the river. On the cutting open of the fish, the ring was miraculously found inside, which allowed the Queen to clear her name. These ideas are manifested in forms that do not share the figurative and traditional aesthetic vocabulary usually associated with the telling of such myths.

Despite the large physical volume of both sculptures the piece seeks to subtly integrate with the existing structure, revealing its presence to those who are outwardly focused.

Detail of travel ticket surface on tail

Exploration of form in Modeling Clay and Styrofoam

The forms were sculpted from wire netting and welding rod. It was to this structure that the tickets were adhered. Given the highly public nature of the Partick Interchange, great consideration was given to the issue of how best to safely rig the installation without the use of ladders or scafolding. Thus creating a piece that would adhere to the stringent method and material requirements without undermining the conceptual and aesthetic intention of the piece.