• Other

incomplete and fragile representations lean between relational forms of water

instability, material fragilities, and shifting impermanence’s underpin ideas of wetness allowing for pre-existing forms to become relationally (un)known and redescribe presence – where fingers provocate conversations of material juxtapositions – works materialise using compositional devices of interruption, commas, language systems, and poiesis to interrupt linear thought

through gesture, oscillation, and becoming, the work combines language and architectures to re-consider modes of production as a rehearsal space where works slip, slide, refuse, relate and hold.

(a thought-object)

• None of the above

• Further or higher education