The object is nurtured through a process of material interaction between artist’s body, time, and its own flesh, each object coming full circle back to dissolution, thus triggering the event of next construction. 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. This ritual is embodied in the performative video documentation of the process turned into film skins overlaid as final material extension to the casts themselves, giving the rhythm of durational build-up as part of their life cycle. Throughout this process the artist’s hand is constantly present and these objects become a bodily residue of this transaction and duration. Traditional casting carries with it a weighted implication of functionality drawn from the masculine language of sculpture, by constructing a methodological sphere outside of that it allows for the casts to operate as extensions of feminine gesture in a parallel practice. By appropriating certain parameters of the scientific method, using the three main variables as intertwined states at play in any experiment; the dependent variable the materials themselves, the independent variable the artist’s hand, the control the vessel form and mold itself. By openly operating within scientific language to articulate these processes the work counteracts the empirical scientific dialogue we are subsumed within.