Wholis are round explorations of touch balancing on four acute conical legs. They resemble statuettes of walking mountains filled with striations of indexical marks, like a petrified representation of life in an irreducible form. The Wholis are attempts of a visual language to elicit an empathic response, in order to cultivate a sense of collective felt experience. The Wholis’ landscape quality addresses a time and place that is outside recorded memory. Whether it be prehistoric or alien, it is a time and place of mystery.

Petrified within an aware ambivalence, their context is “nothing”. Tensions of uncognizable possibilities other than the evoked potential tink-tinking of the feet. Between a surface that indicates organic inanimate form and legs that suggest the potential for action, motion is suggested conceptually rather than visually. The conceptual experience of motion, known as temporal awareness, illuminates space and time as rhythmically unified rather than disparate parts. This reality of the transient nature of things brings forth the foundational plasticity of experience and of our own grounded bodies. That of which, like the Wholis, exist nowhere definitively other than the eternal here and now.

A creature from the mystery. One that has been through a transformation that parallels the genesis of life. A ceramic Being that requires of all nature’s elements to transform from plastic clay into a thing of significantly more permanence. Such is the story of our own origin, evolution, and connection. They serve as reminders of our creatureness by being embodiments of nothing other than their own.