Impermanence of the physical

Outdoor intervention in Queen Elizabeth Olympic Park

2020

Impermanence of the Physical is a collection made of 16 Prints displayed and used as a public intervention stunt in Queen Elizabeth Olympic Park during the pandemic.

This body of work marked a shift in my enquiry. Having previously explored how tension could be stabilised within material, I began to question the assumption of permanence itself. 

I turned to fossilised forms — structures that appear fixed yet are evidence of immense transformation. Fossils hold time within them. They suggest solidity, but are born from pressure, erosion, and change. 

Through fabric and print, forms overlapped, separated, and dissolved. Surfaces carried traces of contact and release. What seemed defined began to adapt. What felt stable began to disappear. 

Layering evolved here. It was no longer only a way to hold contradiction, but a way to register time. Each mark contained previous states. Each surface revealed that nothing exists in isolation — form is always shaped through relation. 

Action, reaction and response became a structural method in the tactile process of print making.  

In confronting impermanence, I was also confronting attachment. The desire for fixity often breeds fear. These works sought to reframe change as continuity — not rupture, but adaptation. 

Movement entered more consciously. Fabric responded to air and gravity. Structure was negotiated rather than imposed. Through this subtle surrender and trust in transition, my understanding shifted. 

Here, forms hovered between becoming and eroding. Coherence gathered through change.