By creating my own method of casting, forming a process outside of tradition that has an impermanent residue, this allows the assumed expectation of a cast to be challenged, giving way to the ritual of casting rather than the perceived final document. The purpose of these perpetual vessels is to embody their own form of synthetic mortality, all the vessels operating within a systematic ecological chain of process. Comprised of three elements the casting cycles concern themselves with enacting the ritualistic process of casting. The casts are followed through their life cycle, the oxidization forming crystal structure, the protective skin layer formed with varnish or PVA, and the dissolution process reducing them to sediment and water. Throughout this process the artist’s hand is constantly present and these objects become a bodily residue of transaction and duration. Traditional casting carries with it a weighted implication of functionality drawn from the patriarchal language of sculpture and by constructing a methodological sphere outside of that it allows for the casts to operate as extensions of feminine gesture in a parallel practice. 

The casts enact a cycle of fallibility, in continuous states of transition, each object coming back to dissolution thus triggering the event of next construction.