The sand series, initiated in 2021, explores the nature and scarcity of raw materials. For two years, I have carried a container of sand from French Polynesia across three continents, eventually to be returned home with my extended family. The series involves placing this sand on a variety of pedestals - inviting animism and spatial flux. From this, a range of narratives have emerged including: valuing nature, ecological transformation, and shared grief. 

The photographed image is from the first installation in the series. Taken out of the earth, the sand is placed on three pedestals within a French chateau. The piece addresses post-colonial exotification and displacement. The piece was later projected in French Polynesia as an ‘animated still life’ alongside a sustainability discussion on resource scarcity within small island developing states. 

*Viewing notes: in addition to being projected, the piece can be printed in large format as pictured

The ‘animated still life’ projection explores the ‘sorites’ or heap paradox that results from the problem of vagueness. When assessing the amount of grains of sand that make up a mound, we realize that 'moundness' is vaguely defined. Moreover, a mound of sand dependently originates from multiple grains of sand (Nagarjuna). The animation uses rudimentary 'dissolve' transitions to draw out the tension of time, the subtlety of change, and the presence of absence (Derrida).

*Viewing notes: this piece is intended to be projected on linen cloth and played with a recording from at St. Eustache Cathedral in Paris, France.

Installed at APE Gallery in Massachusetts, a mound of sand is placed on a pedestal with a singing bowl, mallet, and mirror. The audience is invited to play the bowl, yet withhold from touching the sand. Over the period of a month, these taboos were broken - I left with less than what I arrived with. This play with liminal space blurs the distance between artist and observer, sacred and profane, placement and permanence.

Movement: Alongside the sculpture, I performed an improvisational movement piece. In three interventions over the period of a month, I modified the sculpture and moved through the gallery space. Wearing the veils of my grandmothers, I somatically processed notions of grief and loss. These seemingly personal narratives extend to the social and environmental through the base element of sand.