I use materials that present viscosity and plasticity as mutating properties and propose that we suspend their symbolic register to alleviate them from prescribed notions allowing the bodily to be present in divergent ways. My sculptures are made from materials that carry the promise of transformation. They are bodies made from construction materials that go from fluid to concrete, evoking fossils or calcified beings. Their condition insinuates they were caught while becoming and they now live between worlds, between states. Their skeletal structure is made from camouflage netting and their bodies have been treated with tanning lotions, germicidal, antiseptics. They react to UV light, their pigmentation changes and they become more visible under it. They mutate in coloration, in concealment. Some sculptures have gone through so much tanning that they themselves seem to be luminescent. They are capable of mimesis, of crypsis. It’s as if cosmetics, construction materials and waste had accumulated and suddenly started creating new life, new habitats. These vulnerable sculptures look like sediment and yet are subject to our presence. Their thermochromatic pigment reacts to temperature, to touch. They are porous, they absorb. They also contain. They protect. They are supposed to. That is their roll. Their materials have been engineered to do so. They go from being a membrane to forming a body. They create strange residual landscapes that stretch time, pointing to the future yet evidence of a catastrophic event in the past.