GREENLAND TO TEXAS

GREENLAND TO TEXAS, 2026 CE
Charcoal, oil paint on canvas and recycled textiles.
00 x 00 x 00 inches

Currently rare earth elements and other high-performance minerals are largely refined by China, so the mineral reserves of Greenland represent a potential global supply chain shift, linking distant extraction zones to industrial centres and proposed processing sites elsewhere, such as those being built in Texas.

This work emerges from this studio observation: the logic of the glaze bucket mirrors the logic of geopolitics. Just as a ceramicist seeks specific high-performance minerals to produce desired glaze effects, nations pursue strategically valuable elements to secure power. Through this material lens, geopolitical events that might otherwise appear absurd or random begin to clarify.

DETAIL:

The work is built through stitching together individually sourced fabric pieces into a single surface, physically enacting the same logic of dispersed extraction and assembly found in global supply chains. The medium doesn’t just represent these systems, it performs them.

Drawing is a way of thinking and searching for me, involving observation, revision, erasure, and testing ideas. Stitching functions like line, and the composition builds through accumulation and adjustment, but in a material that resists that fluidity. I stretch the textiles to bring them into the language of painting, allowing them to be read as a constrained pictorial structure. This stabilisation mirrors processes in ceramics, where firing fixes dispersed materials into a new permanent state.

Across ceramics and textiles, I am interested in moments where control shifts into collaboration. Materials do not simply receive form, they actively shape it through resistance, transformation, and unpredictability. Making becomes less about control and more about working with matter as something already in motion, especially in a world where material systems are inseparable from extraction, history, and environmental consequence.