The sculptures are immigrant bodies that are marked by a system that has a structural inner logic defined by immigration law that manifests itself in written language and the resulting documents. Immigrants are spoken of in terms of these documents and indeed they are marked by this process. Becraft is interested in the notion that “language is oppression” (Michael Foucault) and is developed to allow only those people who speak it not to be oppressed. Becraft is an Anglo Saxon male and an immigration lawyer and implicates himself in the work. Becraft is also mindful of the “traces” (Jacques Derrida) that his ethnic background leaves in the text, created primarily by Anglo Saxon lawmakers; the deposits left by history, politics or philosophy. He is aware that a lawyer is “not merely a legal technician hire to serve the client, but also a part of the legal community and a crucial participant in the maintenance and formation of the legal institutions and laws” that delivers systematic injustice. (Portraits of Resistance: Lawyer Responses to Unjust Proceedings by Alexandra Lahav; UCLA Law Review) The text is also a border that imposes an invisible wall with the same enforcement effects as an armed border patrol agent, a fence or a river, without the negative attention. Finally the marked bodies are seeking a space that allows a fuller expression of their individuality and humanity as expressed in the various yoga poses they inhabit.