My art installation presents the subtle and perpetual marks of repetition. I use the body as the subject matter to emphasize our connection with the earth, and I use clay to take impression from different types of water it absorbs. By eroding clay slowly on a daily basis over 100 days, the material documents the effect of flowing water overtime and recreates a vast landscape in an intimate scale.
Like the erosion of bones and the formation of landscapes, I bind polar extremes together: The organic, chaotic, imperfect object from nature, versus the controlled, clinical, symmetrical manmade functional ware. Although vastly differ in character, they are forever bound to one another and exist in unison, creating high drama within a rigid, scientific display.