The importance of place in our lives is entwined with who we are historically and therefore also in the present moment. When we remember ourselves in a place, it is less that it encapsulates or surrounds us and more of an intertwined experience of ourselves within it. The notion of a permeable boundary between place and self is made visible in the piece The World is Blue on the Edges. a life-size fragment of the lower limbs of a female figure crouches within a large pool of sand that is dyed a deep earthy blue. While the stance indicates the possibility of springing or scuttling forward, there is a weight to the white ceramic partial figure which is enhanced by the dark blue color that appears to be seeping up into or draining from the form, grounding her to the terrain of sand. This body is a hollow container, filled with blue sand and unidentifiable spiky cast glass objects that spill out. This work explores the crossing of borders between the interior and exterior of our corporeal container, the connection and blurred distinction between body and place, and the holding of memories that can be both beautiful and painful.

The title references blue as the edges of the world, as in a place of distance. When we look out to the horizon, those places farthest away take on a blue tinge. I grew up on an island and the horizon of my homeland is the pacific ocean, where the blue of the sky blurs into the blue of the water. Being surrounded by blue is an outsized part of my memories of and connection to that place of home. This blue-tinged optical effect of distance is called “atmospheric perspective”.What you are seeing in the distance is through increasing depth of the earth's atmosphere, tinting the places furthest away blue. That distance may be infinite if the farthest place is one in the past, yet those unreachable places of our lives are part of us.