In this work, the canvas functions less as a surface than as a body. It is layered, eroded, and reconstituted through the movement of matter across it. Swaths of earthen browns, aqueous blues, and luminous yellows press against one another like geological strata, recalling landscapes in the midst of dissolution and renewal.

The painting fits the series wherein materials are situated within a deep lineage of myth and science. Ancient traditions across the globe have described human life as having been formed from clay, while contemporary hypotheses suggest that life itself may have originated on its mineral surfaces. Here, the painting becomes an “art-being,” animated not through representation but through its own material vitality.

Gestures ripple like water, fractures open like stone, and the surface breathes between solidity and fluidity. The work thus asks where the line between the living and nonliving can truly be drawn, and whether the body of the painting, like the body of the viewer, might be understood as continuous with the earth itself.