A dormant painting and a land carving, Six Days combines primed canvas and couchgrass – a hardy, drought tolerant grass found growing wild on roadsides in Te Waipounamu, the South Island NZ. The title and grid formation refers to the Old Testament six days of creation, an allegory rendered also in the modernist landscape Six Days in Nelson and Canterbury 1950 by NZ painter Colin McCahon. Each panel in Six Days represents different levels and conditions of exposure to light, with the final right-hand panel, once-verdant, caught in the act of spilling out of the frame. Neither dead nor alive, Six Days hovers in limbo, remaining open to the prospect of being brought back to life or consigned to deprivation and a future slow death.