Currents: Bodies of
Water
Currents: Bodies of Water begins with a return to source. Tracing the movement of water from mountain runoff to rivers and out to sea, the work considers water not as a passive element, but as a force shaped by both natural systems and human intervention.
Digital photograph
2022
Currents: Bodies of Water 2021 -
Stone sculpture, light, waterfountain, photography, video
The project emerged from a period of physical vulnerability, following prolonged exposure to contaminated water. This experience shifted water from an invisible, everyday presence into something acutely material—something that could sustain or weaken the body. From this perspective, Bodies of Water reflects on access, control, and the quiet inequalities embedded within something as fundamental as drinking water.
Sculptural fountains constructed from Carrara stone echo public water systems such as Rome’s nasoni, offering a vision of shared access while also questioning its reality. Stones are left partially raw and partially polished, holding within them a tension between extraction and erosion, between what is shaped by industry and what is shaped by time. Light passes through carved forms, suggesting both containment and permeability.
Across sculpture, video, and image, water is understood as both connective and disruptive—a material that links geographies, bodies, and histories, while also carrying the capacity to erode, overwhelm, and transform. In this way, the work situates itself between flow and control, abundance and scarcity, the natural and the constructed.
The work emerges from an awareness of water not only as a life-giving resource, but as a material capable of immense pressure. What appears light, transparent, and formless holds the potential to fracture steel, to bend infrastructure, to overwhelm the body. This tension—between softness and violence—runs throughout the series. The dam becomes a site of contradiction: protection and control, but also accumulation and risk.
This inquiry is rooted in a return to source. Just as the earlier works were formed through direct engagement with Carrara stone and the physical origins of material, this series considers the origins and infrastructures of water itself—mountains, reservoirs, engineered systems, and the invisible networks that sustain daily life. The work reflects on how access to clean water is mediated, controlled, and unevenly distributed, despite its apparent abundance. At the same time, the surfaces carry a material memory. Polished areas catch and reflect light, evoking the transformation of raw stone into something historically elevated—recalling the lineage of Italian marble sculpture—while rougher passages retain the violence of extraction. This duality mirrors the action of water itself: to erode, to shape, to polish over time through contact, pressure, and repetition.
Cararra stone and clear glass
Sculpture concept
Carrara stone and lighting components
2022
Cararra stone and blue glass
Sculpture concept
Digital photograph
2017
Installation
The Stone has Shattered and I Can Breathe
Photographs, stone, audio
2021
The weight in my stomach feels like a stone—
a stone I’ve been trying to chisel out for years,
so I can finally take a full breath.
The body releases what it has internalized—fragmenting weight into breath, sound, and landscape. The body disperses into landscape; the landscape becomes a distributed nervous system.
A sculptural installation of shattered stones and sound.
Local river stones, digital archive photograph
2022
Digital photograph
2021
Visiting the Source
Archival digital photograph
Limited Editon
2022
Archival digital photograph
Archival digital photograph
Archival digital photograph
Thirty-Five
Photograph, ultrasound scan
2021
I’ve been questioning to freeze my eggs, but I haven’t. I still desire a child, financial security, a permanent home, a partner. For now, though, my womb is an empty universe, spread out like a celestial dome in ultrasound images silky with lines of information that echo the same resounding absence.
I suspend the passage of time, freeze it in the medium of photography. Twelve images that shift progressively like the changing faces of a chaste moon. Still, details escape. The camera seeks stability, but my hand shakes, Artemesia moves, my face turns. The photographs clutch at the traces of what is beyond capture or conservation.