My work has often involved loss in some form, but my sensitivity to the collective loss over the past few years has been hyperextended and its weight acute. I have begun to examine these sensations in a new body of work with the ideas of permanence, fragility, vulnerability, and acceptance becoming increasingly present. I feel the pull of wanting to hang on while simultaneously needing to let go. My work explores these tensions and contradictions that loss incites through visceral processes of material and time.

One Hundred and Fifty Years of Winter is a long-term project which examines Martin Heidegger’s Being and Time and the many complexities and contradictions found in his own search for meaning and the answer to the question, what does it mean to be? The work begins at the end of Heidegger’s text, Being and Time and moves in reverse toward the start of the book, one character at a time. I place 5 lines of 7 characters and spaces in a mold to cast in concrete. At the end of 4 weeks, I burn the 28 casts and make a carbon print from the surface of each block. Each print is a composite of the 4 stacks of 7 different casts with each day rotated 90 degrees in a counterclockwise sequence. Through the repetition in my own labor, now I’m seeing this work for me is about the meandering between the understanding and misunderstanding of who and where we are in time.

• The Hour of Lead