Renaissance (2026)

This preliminary experiment serves as a test for a larger body of work, exploring the boundaries of site specific installation through a temporary lens.

This exploration in assemblage is a site of confrontation and contemplation, a shelter found within future ruins where the discarded materials of overconsumption are granted a second life. It is an investigation into the detriment of capitalism on society and the necessity of finding refuge within the waste of an apocalypse. By treating matter as alive, these objects are reclaimed from the pile to form a speculative fiction where nostalgia and survival coexist.

The construction of this cave was built entirely within the duration of a single album, tying the physical act of assembly to a specific window of musical time. This process creates a direct connection between the rhythm of the music and the chaotic labor of building, using the record as a stopwatch that forces every movement to stay in pace with the sound.

Every object from the salvaged globe to the industrial yellow bucket was positioned within the span of those tracks, transforming the building process into a time bound performance. Because the work is inherently temporary, each item can be pulled apart and reused, addressing themes of overproduction by ensuring that the materials remain in a cycle of utility rather than becoming permanent waste. The resulting structure is a sanctuary built from the debris of a crumbling system, a precarious dwelling that questions what remains when the music stops and the world is left with nothing but its own excess.