LAX (2009) marks a pivotal moment in the Notes on Self series, capturing the transformation of fixed form into mutable experience. Beginning as an empty rectangular volume, the piece was precisely calibrated to Radtke’s standing height, width, and depth, embodying the initial geometry of the body’s spatial claim. This composed form of fine bronze mesh was then subjected to a decisive act of crumpling. The straight edges and rigid lines vanish, replaced by organic undulations, curves, and the vulnerability of frayed bronze wire. 

Serving as a meditation on the body’s negotiation with impermanence, LAX demonstrates how a singular, measurable space is fractured and redefined by time and external forces. As the bronze mesh ages the patina will darken, registering the physical history of human engagement where hands have touched the surface, allowing the work to continue its dialogue with the ephemeral and the accidental.