Settled within the United States’ current trajectory where climate degradation and violent suppression of marginalized peoples are irrevocably intertwined and seemingly ceaseless, The Epoch of Loss reckons with the breaking point to which we are headed by offering a glimpse into a possible future on earth. This hypothetical landscape exists after the climax of our current increasing pressure points and takes inspiration from landscapes created by giant earthworms in South America. Mounds of single-use plastics, clothing, bottles, plastic chairs, and other detritus have fossilized the last epoch of toxic living in the Anthropocene. Broken car glass swept up from the street has tenderly and virulently reiterated itself on found animal skulls, tin cans, and bolts; beer cans have reimagined themselves into fauna; an object on the wall of human hair from two sisters and rattlesnake tails signals warning. This futuristic landscape quietly determines its own space in the present, and allows for limited movement within it. In the aftermath of the human epoch, one that has seen the greatest consumption and violent destruction of life on earth, this landscape has begun a defensive and healing re-fertilization; slowly building upon itself until human time has become part of its strata, rot, and remembered past.

Single vision produces worse illusions than double vision or many-headed monsters. - Donna J. Haraway

Caminante, no hay puentes, se hace puentes al andar. 

(Voyager, there are no bridges, one builds them as one walks.)  - Gloria Anzaldúa

The Epoch of Loss

Sand, single-use plastics, foam, old clothing, aluminum, plastic bottles, aqua resin, old tires, found bullet shells, old shoes, broken car glass swept up from the street, beer cans made into leaves, burned found limbs, car parts, discarded plumbing parts, plastic chair, hex nuts, asphalt, tin cans, plastic straps and ties, sawed off chain link fence posts, cd, copper wire, plastic jugs, found animal skulls, shells, rocks, bolts.

Dimensions variable.

2022