For Artpace, Slotawa endeavored to draw parallels between two cultures and their respective forms by using materials found locally. Struck by Texas’s own role in the history of Minimalism, he was interested in symbolically connecting to an historical European female figure-1930s Russian sculptor Katarzyna Kobro-by creating a co-habitation with the works of Donald Judd and the Texas landscape. Constructivism being one of the important antecedents to Judd’s own sculptural practice (which was only later termed Minimalism by art historians), Slotawa brings these pieces into a kind of a posthumous conversation. His process began in Poland, where he gained permission to make provisional models based on fragments of Kobro’s work out of metal. Upon arrival to Texas, he proceeded to build the metallic models, collect found furniture from around the office at Artpace, and drive back and forth to West Texas in order to view a conversation with the Judd legacy, as well as with the flora and fauna of the area (another local form). The final installation is a merging of these experiences, perspectives, and formal dialogues meant to create more expansive, equivocal parameters for sculpture and the natural environment.