The objects in this series came into focus during time spent moving through the seascape in pandemic lockdown. Worn down or no longer meeting expectations I made connections to materials that presented themselves to me. They held the past, yet exposed feelings from the present and what might be possible in the future. The process was cathartic. I would reach down to touch these objects, sometimes holding them and carrying them with me on my daily walk. I responded to their weathered state. Sometimes the connection faded, other times the bond increased. But the chance encounters always felt special and intimate. The objects raised questions about my past life and function. Had I connected with these materials before and could we have a future together? It was easy to project my state of being onto these inanimate objects. Weathered, worn, degraded. We were in a cycle of becoming obsolete. Inspired to prevent further degradation I carried them home and placed them in a holding pen, hoping to redeploy meaning and function through my art practice.

Paired together, the weathered materials presented as a new entity. I began to halt the dismantling of their functionality through the binding of the wool. It mirrored the cycle of trying to hold myself together in various forms of restraint and release. The unexpected sculptural compositions allowed me to form new interpretations. My sense of agency dissolved as I began to understand the intrinsic qualities we each had to offer and whether or not a balance could be achieved. Altering the state of obsolescence celebrated an opportunity to pause our ruined legacies and be reincarnated together.