On another overlapping point of the horizon,a notion of simultaneity that contradicts the linearity,and thereby,of temporal succession, implied by a horizon. But I have not been able to conceive of a better metaphor,although Deridda's circle metaphor might be particularly adaptable here,is the particular context within which I am exploring this perceptual experience,its embodied and mobile affordances and its cognitive construction. That is the interpretation of two distinct spaces/different spaces by two artists,Susanne Wenger and Katherine Maltwood.

Why these two artists?And why the spaces they devote themselves to?

Wenger works in the Oshun Forest in Southern Nigeria while Maltwood was peroccupied with Glastonbury in England in terms of interpretive parameters that relate to other aspects of her work as sculptor and watecolorist. Wenger has worked principally in cement and mud sculpture,with her Nigerian collaborators,two of whom are Adebisi Akanji and Buraimoh Gbadamosi,while Maltwood has worked in terms of the imaginative constructiond constructed through the making of maps as well as the fraction of these in her more conventional artistic media of bronze sculpture and water colour. They have both written significantly in exposition of their ideas although Wenger is much more of the dedicated ideologue,whose written expression could be understood to stand beside her visual art as a distinctive achievement of its own in term of the metaphysical and poetic power of its reconstruction of a pre-existing/ preexistentent vision.