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In Ephemera, we explore the landscape of the human form casting silhouettes, as if the rotational pull and axis of infinite space and ever-stretching light are the puppet strings.

There is a singular entity, caught, trapped between celestial bodies and writhing to be set free, liberated, and met with salvation. In this process of escape, Ephemera moves with a consciousness deeper or perhaps more outwardly distant than itself… And what is avoided in this consciousness is ultimately expressed in the fate of the body in motion.

The strength exhibited here and on display through fluid motion is simultaneously powerful and fragile. It can never be recreated or destroyed; it exists in the fleeting moment of the soul’s desire for a dance partner across the volumetric landscape of the empty elliptical galaxy. A random feedback loop here draws us into conversation with expanse, grace, and a thundering godliness – the way science is godliness, the way the body is godliness, the way nothingness is godliness, the way that transformation is perhaps the highest form of divinity.

Each viewing of the piece is completely unique, a different moment in the time continuum. As the experience resets we are witness to a different prayer for liberation, one that uses the celestial range of Ephemera’s emotion and movement to plead her case.

Like the unlimited, ever transient combinations of a cosmic padlock, Ephemera invites the viewer with volatility and gentleness to drown in the volumes of light and skin, of the organic and the industrial, the fluid and the static, to be, yourself, a conduit for the malleable thrash of being.