In relation to this work, Quinn has referred to the idea of creating solid form from breath through the use of blown glass. The glass itself gives the impression of a liquid and solid presence simultaneously. This sculpture exhibits a multitude of reflective surfaces and is therefore difficult to see as a fixed entity. Quinn has commented on his fascination for mirrors, for example those at Versailles, and his curiosity about the events which they have witnessed and of which they have no memory.
Sarah Kent, Shark Infested Waters: The Saatchi Collection of British Art in the 90s, London 1994, pp.73-6