The first artwork is a series of crystals created from this dust. Dust is seen as “remains” —as material index of human activity that is continuously accumulated on spaces. In reconstructing almost imperceptible biological debris, like microscopic hair and skin particles, into physical objects, the work proposes the act of memorial—or monument-making, as fundamentally an act of delineating the space of remains. Monumentality, in that sense, inheres not in scale of the structure, but in the historical and material “weight” that has accumulated—settled—over time.
Dust is soil. Dust is pollen. Dust is burnt meteorite particles.
Dust is also hair, tears, blood, sweat and shed skin cells.
Sites of history are heavy with dust.
They attract us with the wight of this dust, this debris.


In Collapsing Clouds of Gas and Dust, I collects biological debris from residual dust found in historic sites and sites of memory and transform them to crystals. Sites include memorials, monuments, landmarks and sites of pilgrimage.