Offering of uncertainty

For as long as I can remember, I have been engaged with and invested in the wellbeing of other species, seeing them as having their own wisdom, communication, and relationships. My art practice has been deeply invested in using materials that can reintegrate back into nature, like snow, beeswax, and clay. Since participating in the Slow Wave Small Projects residency in 2018, I have been thinking of how to arrive at new places in a relational way and—throughout the time provided in this MFA program—I have reconsidered my relationship to land-based art practices historicized in art history. I have continued my process of spending contemplative time in forests or with water, altering the material nature of my practice to correspond to each place. Working with a range of materials from the ephemeral and biodegradable to the discarded and borrowed. This has been an unsettling journey that I am nowhere near finished sorting out—I feel as though I'm just beginning. Authors thinking deeply about topics of relationality and the more-than-human have been valuable to shaping my process. In my graduating project Offering of uncertainty, I think through the ecosystem of ultrasound—a sound world happening beyond our senses. I incorporated sound to suggest that, in our visually dominant world, sound is impacting us and all species around us.