{"id":1180,"date":"2026-01-21T12:18:51","date_gmt":"2026-01-21T12:18:51","guid":{"rendered":"https:\/\/www.ellipsis.pink\/phl\/?page_id=1180"},"modified":"2026-01-21T14:46:28","modified_gmt":"2026-01-21T14:46:28","slug":"embodiment","status":"publish","type":"page","link":"https:\/\/www.ellipsis.pink\/phl\/?page_id=1180","title":{"rendered":"embodiment"},"content":{"rendered":"\n

embodiment<\/span><\/h2><\/div><\/div><\/div>\n\n\n\n

Embodiment<\/strong> is a series (part of my MFA) of figurative, partially abstracted clay polyptychs in the making that examines bodily \u201cworld-relations\u201d through posture and contact. Each work stages a distinct mode of being\u2014lying, kneeling, standing\u2014so that gravity, weight, and the trust (or rupture) of the ground become the primary dramaturgy. In dialogue with Hartmut Rosa\u2019s account of how ontological security begins \u201con our feet\u201d and how touch operates as a responsive interface between self and world (Rosa, 2019, pp. 47\u201352), the figures treat surface, pressure, and deformation as records of encounter rather than mere form. Planned as interdisciplinary installations, each polyptych extends beyond sculpture into a spatial situation in which touch, proximity, and groundedness are experienced as conditions for resonance rather than as illustrative themes.<\/p>\n\n\n\n

Here some preliminary photographs of completed pieces and work in progress. <\/p>\n\n\n\n

satyre<\/h2>\n\n\n