When working with latex, I’ve thought a lot about how it’s a material of time: it extracts a past history from a present object, but what to do with its future state is difficult to reconcile. I’ve been challenging the context of these casts by removing them from their place of origin and disrupting how a viewer is to encounter them physically. This molt was a cast of an oil loading rack staircase set, designed for oil trucks and bobtails, now decommissioned, and I’m not sure dwelling in that past history of labor is going to create a better future. This is my dilemma: figuring out how these new objects are to live in the world, by enriching or challenging it. We are living in a time in America right now where tremendous changes need to happen in how we treat each other and our landscape. In trying to discover how my work contributes to greater conversations needed right now and why a latex sculpture matters, I recalled a specific house in the Bywater neighborhood of New Orleans. The homeowner had surrounded the magnificent porch with giant curtains and when asked why she did it, she said, “To watch the wind breathe.” It was profound. Maybe it is as simple as taking an object of past history and reinterpreting it into an object of life. By allowing the wind to act as a fellow contributor, we can celebrate perseverance of human and nature, for we are both still standing strong. With new life, there is always new hope for a better tomorrow. Allowing these objects to “breathe” again can reconnect us to a greater vision of how we are to inhabit and coexist within this short time on this beautiful planet.