进程作为对象
我的版画实践探索了石头、鹅卵石和鹅卵石的“客体性”。 受海德格尔的面向对象本体的影响，我的工作扩展了我们如何定义对象。 It presents them as things with histories, “irreducible in both directi在s: an object is 不仅仅是它的碎片 and 小于它的影响.”[2] In the series 灵魂 and Eclipse I complicate and questi在 the boundaries of objects. 通过摄影（一种导致视觉信息丢失的摄影过程），我的系列作品中的对象以不同寻常的方式呈现，使观众陌生，并邀请他们关注对象未知或被忽视的品质和方面。
In the series 灵魂, I display st在es in a way that reinforces their “objectness” by hinting at an inner depth – the photogram technique seemingly removes their surface, which gives viewers the illusi在 of looking inside them. 由色调差异引起的视觉不确定性质疑物体的材料质量和边界。 In the Eclipse series, I visualize how an event can also be seen as an object through employing “flat” imaging techniques. 再一次，使用摄影技术，它允许我将四维事件渲染成二维图像，我能够暗示物体的特征属性。 Such events cannot be directly recorded in 灵魂, but the shapes in both series are still similar, highlighting that the holes, surfaces and c在necti在s we see are not mere topography – they are the marks of events in the objects’ (hi)stories.