The work is made out of re-formed brass from a bell of the kagura suzu, as well as copper filler from Providence. It is then wax-casted into sculpted flora and sanded until its form reaches that of a hollowed bone structure, and attached to earring hooks– questions of utility, ornamentation, and remnants of meaning through form then come into play. How much do we retain if only suggestions of a whole remain within a newly constructed being? This piece attempts to wrestle with the implications of resistance, and how we are to find introspection within retainment of material/visual form.
Additionally, I discuss the theory of Theseus’ Ship in relation to racial and sexual diaspora: If
every part of a ship is replaced one by one, does it remain the same ship? Our ability to maintain individual identity while replicating and sharing in communal cultures.
I would like to discuss the presentation and perception of works as allegory to beings. I find there to be value and merit in mortal effort. In the act of trying as wholly human and miniscule when faced with things we believe govern us. At what point do we erringly petrify (to fix things and practices in time) and enclose (strengthening internal ties, shutting out those who do not belong) history and its traditions? How much are we fooled by ourselves?
