Reclining Male Nude Eash.jpg
Memorial II detail Eash.jpg
Memorial I detail Eash.jpg
Hematoma II Eash.jpg
Memorial III detail I Eash.jpg
Memorial II Eash.jpg
Memorial I Eash.jpg
Memorial III detail II Eash.jpg
Memorial V Eash.jpg
Memorial VI Eash.jpg

"Bed Rest" is a body of ceramic work that aims to explore the aesthetic of failure by use of the body in a state of injury and healing. I had suffered three spinal fractures and multiple hematomas,. Ceramics became the only medium with which I had the strength and mobility to utilize. As a seemingly neutral medium, the impression of a hand, weight of a body, or memory can produce content that is clearly visible simultaneously within its form and method of making.

"Memorials" were made as towers of precariously stacked discarded mistakes from a ceramic studio. The memorials appropriated the impressions of frustrated hands and inflicted injuries. Fragments and fissures of clay are healed together with new clay and fired; creating large hematomas as masses of clay pressed with the hand become reminiscent of muscle and bone in a state of injury and healing. Various lenses from enlargers focus on fractures, identifying the mass as an injured form, and the object as an aesthetic of failure. The works are positioned on chrome and glass bedside tables; referencing the banal objects of a bedroom and the sterility of hospital spaces.

Hematomas are depicted as enlarged heads of coins, altering scale through perspective and magnification. Clay that has been imprinted with the force of tennis shoes eludes to the action of a blunt force, and a fossilized oceanic stone references the idea of a monument to things passed.

"Reclining Male Nude" depicts the inability of mobility. A ceramic pelvis is fastened to an office chair with intricate knots, exposing bao-ding balls as testicles to render the work as a male nude in a state of forced recline.

"Bed Rest" is the body and object in a state of injury, the memorial as an aesthetic of failure, and the monument as a memorial to injury. The Memorial becomes a literal material of mourning; a document of nonfiction rather than a representation of fiction.