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Drafts in WHITE
Inner Space Revisited
Issue 5

February 2024

My process of mold-making often reminds me of the Pantheon with its prominent oculus opening at the center of its high ceiling. Whenever I visit Rome, I return multiple times a day to experience the space. With each visit, the atmosphere shifts, but the building – a centuries-old place of worship – still holds my attention. Pilgrims pray, tourists shuffle about, and even the natural elements, like rain, are free to fall from above.

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Meditating on the visual similarities between this grand interior and the molds in our studio, I am once again reminded of my roots in architecture. However, while buildings are planned with rigorous care, my initial process of mold-making is spontaneous and haphazard in nature. And although my process is inherently unsystematic and careless during formation, the outcomes require an almost ceremonial excavation to carefully reveal the resultant inner forms.
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Originally, my sculptures were meant to be experienced visually. Once hollowed out, they became pitchers and vases and were repurposed to be used in everyday rituals around the table, offering moments for intimate human connection.
When pulled apart, our molds’ interiors reveal fossilized expressions that range from architectural geometry to organic remnants of the human form. This sequence continues to fascinate me. Each time we tie a mold together and subsequently peel it apart, we play peek-a-boo with the seen and unseen — a moment I eagerly revisit again and again.
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Drafts in WHITE are bimonthly notes from our studio – inspirations, illuminations, and cultural explorations.


Sectional of Pantheon via Smarthistory;

White Dirt photography by Jessica Eve Rattner;

sketches by Dana Harel.

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