The work in my thesis exhibition exists as a sculpture of fragments. This work is a fluid definition of sculpture that understands itself not as a self-enclosed complete form, but as a flat ontology of object relationships that prevent any clear autonomy from emerging. I am interested in reclaiming the lost object and using discarded residuals of a lived experience to comment on the encased memory of that object. A sense of fictive permanence is enacted as space is deflated into an anachronistic grouping that culls a subjunctive mood from the expansive relations of these elemental objects. Concerned with a strict democracy of objects, all components are delineated the same physical space and deserve the same level of object inquiry. Time is flattened, autonomy is removed, and my practice is dissolved onto the concrete gallery floor as a matter field of fragmented ambiguity.