For The Erosion of Time at the Museum of Art + Light, I wanted to create something that felt both cinematic in its scale and precise in its critique—a piece that sits at the intersection of beauty and decay. Taking full advantage of the Mezmereyz Gallery’s immersive 3,500-square-foot projection space.

At first glance, it’s a moonlit field in bloom, a sweep of blue and white flowers stretching into the distance. But threaded through that beauty are objects we once imbued with urgency, value, and identity: the shell of a car, screens & displays, soup cans, scattered remnants of a life built on desire, convenience, and novelty. They are the relics of a culture addicted to planned obsolescence— things engineered not to endure, but to be replaced.

My work has always wrestled with the tension between permanence and disposability, drawing on critical theory to examine how consumerism shapes our sense of self. In this work, the remnants haven’t yet been claimed by the earth. Instead, they’re caught in the in-between— past their moment of use, stripped of the narratives that once made them desirable, but not yet erased. They linger like ghosts, surrounded by a world that moves on without them.

The flowers are more than ornament— they are a recurring motif in my work, standing in for the cycles that define both nature and culture. They bloom, fade, and return, just as our objects, systems, and stories rise, decline, and reemerge in altered forms. They mirror the exhibition’s theme itself: the erosion of time not as a simple act of disappearance, but as a process of renewal, where what is lost becomes the ground for what comes next. Their abundance is not passive decoration, but a visual reminder that time’s passing doesn’t just take away — it reshapes. Like memory, it wears things down and rebuilds them into something new, altering how we see them and how they live on.

This work exists in the immersive space of The Erosion of Time to confront that cycle on a grand scale. It invites you to stand inside it, to feel the distance between what we make and how long it matters, and to sit with the uncomfortable truth that beauty and loss are often inseparable.

It has been a privilege to work with the MoA+L team since before the museum was even fully built, helping to shape the future of their space in a meaningful way. My deepest thanks to Sydney, his animation team, Lisa, Jori, and Erin — and to the Iconic team, Paul, and Chris — for making this possible. This work was created as a direct response to the passion you all share for the future of digital art. Thank you!