Mary and Moses Sculpture Garden, Curated by Christine Clark
University of Victoria
Initiated by a sketch of potential cosmological connections linked to the form of the egg, 28 arms reached out in all directions to original agreements made among my ancestors. As I was folding, bending and maneuvering the clay, I was imagining my Ukrainian ancestors who worked with the egg each spring equinox to ensure the continuance of life for another year. Each arm was made of 2-3 sections of clay that fit inside of each other. The arms were formed from repurposed clay, as well as local clay that had been collected next to the Pacific Ocean.
The arms were later installed in the woods as part of a group exhibition, dedicated to an elderly couple (Mary and Moses) who had tended the gardens on the land and spent their lifetime walking in that particular forest. Prior to installing the works, I made an egg form, out of shells, next to the Pacific, then looked for spaces where I felt the arms resonated: next to ghost plant with similar stem stacks and aesthetics or inside abandoned woodpecker holes.