This piece works on any number of levels. Most evidently, it works as symbol rather than sign. The phenomenological essence of the piece is its literal embodiment, rather than a descriptor of a phenomenon that does not participate in the essential nature of the work. Three I beams curve to create a detail of classical ornamentation, the triglyph. Texts dating from the time of the Roman Empire suggest that this bit of decorative detail originated as support beams for wooden roofs in Greece and later became carved elements in the stone of buildings that no longer required such beams. Here, then, supporting infrastructure has been warped into mere ornament and, thus, stripped of its original meaning and purpose. It suggests the fate of any image or formulation of ideology that is so revered as to become meaninglessly divorced from its creative spirit. The titans were the race of earthly elements imprisoned or in some form enslaved by the more anthropomorphic Olympians. It is interesting how someone or something can be both put on a pedestal and simultaneously taken for granted such as the earth goddess, Gaia, and the literal dirt beneath our feet.