Healing Myself
Healing Myself (Detail)
Healing Myself
Spirituality of The Loss
Spirituality of The Loss
Spirituality of The Loss
Spirituality of The Loss
Spirituality of The Loss
Spirituality of The Loss
Spirituality of The Loss
Spirituality of The Loss
Spirituality of The Loss
Spirituality of The Loss
Spirituality of The Loss
Spirituality of The Loss
Spirituality of The Loss
Balancing Expectations
Balancing Expectations
Balancing Expectations (Detail)
Balancing Expectations (Detail)
Balancing Expectations (Detail)
Balancing Expectations (Detail)
Balancing Expectations (Detail)
Flag For My Mother
Flag for My Mother
Skin
Skin
Ink Think
Ink Think
Ink Think
Ink Think
Ink Think
Ink Think
Ink Think
Frozen In The Moment of Fracturing
Transparency of Transiency
Transparency of Transiency
Transparency of Transiency
Transparency of Transiency
Transparency of Transiency
Transparency of Transiency
Transparency of Transiency
Transparency of Transiency
Transparency of Transiency
Fragmented Memories
Fragmented Memories (Still)
Fragmented Memories (Still)
Fragmented Memories (Still)
Imitation/Constriction
Imitation/Constriction
Imitation/Constriction
Replacement
Replacement
Replacement
Concentric
Concentric
Concentric (Detail)
Concentric (Detail)
Ghost of a Tree
Ghost of a Tree
Just To Be Okay
Just To Be Okay
Spectre
Spectre (Detail)
Spectre (Detail)
Loneliness
Loneliness
Loneliness
Creation/Destruction
Creation/Destruction
Organic
Organic (Detail)
Organic (Detail)
Mother Your Place In My Heart (Still)
Mother Your Place In My Heart (Still)
Mother Your Place In My Heart (Still)
Forget Me Nots
Forget Me Nots
Forget Me Nots
Forget Me Nots
Forget Me Nots
Healing Myself2021Approximately 6’ x 4.5’ x 10”The Band-Aid body is exhibited alongside the following handwritten note: "Band-Aids are the slings, arrows, nicks, and cuts of a lifetime of womanhood. The process is hot and sweaty. It is uncomfortable and difficult to move or to accomplish normal daily tasks. I am encumbered. I am struggling to see around my female body. This process is awkward and hard to accomplish; I cannot handle doing too much at a time. Delicate and difficult... It feels like my female body is in the way. But I pick up the pieces and put myself back together again."
Healing Myself (Detail)2021Approximately 6’ x 4.5’ x 10”The Band-Aid body is exhibited alongside the following handwritten note: "Band-Aids are the slings, arrows, nicks, and cuts of a lifetime of womanhood. The process is hot and sweaty. It is uncomfortable and difficult to move or to accomplish normal daily tasks. I am encumbered. I am struggling to see around my female body. This process is awkward and hard to accomplish; I cannot handle doing too much at a time. Delicate and difficult... It feels like my female body is in the way. But I pick up the pieces and put myself back together again."
Healing Myself2021Approximately 6’ x 4.5’ x 10”The Band-Aid body is exhibited alongside the following handwritten note: "Band-Aids are the slings, arrows, nicks, and cuts of a lifetime of womanhood. The process is hot and sweaty. It is uncomfortable and difficult to move or to accomplish normal daily tasks. I am encumbered. I am struggling to see around my female body. This process is awkward and hard to accomplish; I cannot handle doing too much at a time. Delicate and difficult... It feels like my female body is in the way. But I pick up the pieces and put myself back together again."
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Spirituality of The Loss2021Steel sheet, steel round bar, steel pipeDimensions VariableThis work examines my religious experience with nature. I am no longer a religious person. Yet having grown up in forested mountains, I have always felt a connection to trees. The only spirituality I now believe in is an unnamed binding force between all humans and nature. Having lived in Houston for 14 years where trees are scarce, I still feel an inner force that yearns for nature. The steel trees represent this yearning and perhaps even a kind of loss—a loss to physical relocation, to Capitalism, to climate change. The trees are a dichotomy between a cold manufactured death, and organic forms and desires. The round steel bars are barren and sterilized. The act of cutting down is immortalized by the base plates, which utilize aesthetic qualities to perversely accentuate their point of severance. I have used figural representation to conjure deathly beings into space; a metaphor for the death of my own religious faith. These are the ghosts of nature.
Balancing Expectations2021 steel plate, “manly” chain, “girly” yarn, female laborApproximately 15’ x 8’ x 2’Balancing Expectations examines the absurdity of gender norms by juxtaposing and conflating both materials and methods that are commonly considered masculine or feminine. Despite the gendering placed upon yarn, crochet, metal, and welding, the entire piece was accomplished through female labor which often goes unnoticed. The strength of unseen female labor is emphasized by the fact that the artwork is supported by the crochet, not the metal.
Balancing Expectations2021 steel plate, “manly” chain, “girly” yarn, female laborApproximately 15’ x 8’ x 2’Balancing Expectations examines the absurdity of gender norms by juxtaposing and conflating both materials and methods that are commonly considered masculine or feminine. Despite the gendering placed upon yarn, crochet, metal, and welding, the entire piece was accomplished through female labor which often goes unnoticed. The strength of unseen female labor is emphasized by the fact that the artwork is supported by the crochet, not the metal.
Balancing Expectations (Detail)2021 steel plate, “manly” chain, “girly” yarn, female laborApproximately 15’ x 8’ x 2’Balancing Expectations examines the absurdity of gender norms by juxtaposing and conflating both materials and methods that are commonly considered masculine or feminine. Despite the gendering placed upon yarn, crochet, metal, and welding, the entire piece was accomplished through female labor which often goes unnoticed. The strength of unseen female labor is emphasized by the fact that the artwork is supported by the crochet, not the metal.
Balancing Expectations (Detail)2021 steel plate, “manly” chain, “girly” yarn, female laborApproximately 15’ x 8’ x 2’Balancing Expectations examines the absurdity of gender norms by juxtaposing and conflating both materials and methods that are commonly considered masculine or feminine. Despite the gendering placed upon yarn, crochet, metal, and welding, the entire piece was accomplished through female labor which often goes unnoticed. The strength of unseen female labor is emphasized by the fact that the artwork is supported by the crochet, not the metal.
Balancing Expectations (Detail)2021 steel plate, “manly” chain, “girly” yarn, female laborApproximately 15’ x 8’ x 2’Balancing Expectations examines the absurdity of gender norms by juxtaposing and conflating both materials and methods that are commonly considered masculine or feminine. Despite the gendering placed upon yarn, crochet, metal, and welding, the entire piece was accomplished through female labor which often goes unnoticed. The strength of unseen female labor is emphasized by the fact that the artwork is supported by the crochet, not the metal.
Balancing Expectations (Detail)2021 steel plate, “manly” chain, “girly” yarn, female laborApproximately 15’ x 8’ x 2’Balancing Expectations examines the absurdity of gender norms by juxtaposing and conflating both materials and methods that are commonly considered masculine or feminine. Despite the gendering placed upon yarn, crochet, metal, and welding, the entire piece was accomplished through female labor which often goes unnoticed. The strength of unseen female labor is emphasized by the fact that the artwork is supported by the crochet, not the metal.
Balancing Expectations (Detail)2021 steel plate, “manly” chain, “girly” yarn, female laborApproximately 15’ x 8’ x 2’Balancing Expectations examines the absurdity of gender norms by juxtaposing and conflating both materials and methods that are commonly considered masculine or feminine. Despite the gendering placed upon yarn, crochet, metal, and welding, the entire piece was accomplished through female labor which often goes unnoticed. The strength of unseen female labor is emphasized by the fact that the artwork is supported by the crochet, not the metal.
Flag For My Mother2021fabric, acrylic, she loved all colors and flowers45” x 21” x ¼”
Flag for My Mother2021fabric, acrylic, she loved all colors and flowers45” x 21” x ¼”
Skin2021 steel square bar, steel sheet, acrylic Approx. 70” x 30” x 20”
Skin2021 steel square bar, steel sheet, acrylic Approx. 70” x 30” x 20”
Ink Think2021ink on paper5 ¾” x 7 ½”These selections are the top choices out of 100 ink drawings done intensively.
Ink Think2021ink on paper5 ¾” x 7 ½”These selections are the top choices out of 100 ink drawings done intensively.
Ink Think2021ink on paper5 ¾” x 7 ½”These selections are the top choices out of 100 ink drawings done intensively.
Ink Think2021ink on paper5 ¾” x 7 ½”These selections are the top choices out of 100 ink drawings done intensively.
Ink Think2021ink on paper5 ¾” x 7 ½”These selections are the top choices out of 100 ink drawings done intensively.
Ink Think2021ink on paper5 ¾” x 7 ½”These selections are the top choices out of 100 ink drawings done intensively.
Ink Think2021ink on paper5 ¾” x 7 ½”These selections are the top choices out of 100 ink drawings done intensively.
Frozen In The Moment of Fracturing2020a note my mom wrote after a religious falling out before she died Approx. 24” x 30”
Transparency of Transiency2020Digital ImageThis photographic series examined the surreal monotony of day-to-day life under Covid.
Transparency of Transiency2020Digital ImageThis photographic series examined the surreal monotony of day-to-day life under Covid.
Transparency of Transiency2020Digital ImageThis photographic series examined the surreal monotony of day-to-day life under Covid.
Transparency of Transiency2020Digital ImageThis photographic series examined the surreal monotony of day-to-day life under Covid.
Transparency of Transiency2020Digital ImageThis photographic series examined the surreal monotony of day-to-day life under Covid.
Transparency of Transiency2020Digital ImageThis photographic series examined the surreal monotony of day-to-day life under Covid.
Transparency of Transiency2020Digital ImageThis photographic series examined the surreal monotony of day-to-day life under Covid.
Transparency of Transiency2020Digital ImageThis photographic series examined the surreal monotony of day-to-day life under Covid.
Transparency of Transiency2020Digital ImageThis photographic series examined the surreal monotony of day-to-day life under Covid.
Fragmented Memories2020broken glass found from the places I have been, canvas, acrylic, hot glue48”x60”x4”
Fragmented Memories (Still)2020broken glass found from the places I have been, canvas, acrylic, hot glue
Fragmented Memories (Still)2020broken glass found from the places I have been, canvas, acrylic, hot glue
Fragmented Memories (Still)2020broken glass found from the places I have been, canvas, acrylic, hot glue
Imitation/Constriction2020temporary chain installation96” x 6” x 18”
Imitation/Constriction2020temporary chain installation96” x 6” x 18”
Imitation/Constriction2020temporary chain installation96” x 6” x 18”
Replacement2020temporary chain installation10” x 7” x 4”
Replacement2020temporary chain installation10” x 7” x 4”
Replacement2020temporary chain installation10” x 7” x 4”
Concentric2020temporary chain installation8’ x 8’ x 1’
Concentric2020temporary chain installation8’ x 8’ x 1’
Concentric (Detail)2020temporary chain installation8’ x 8’ x 1’
Concentric (Detail)2020temporary chain installation8’ x 8’ x 1’
Ghost of a Tree2020steel plate, steel round bar, found tree stumpApproximately 4’x2.5’x3’
Ghost of a Tree2020steel plate, steel round bar, found tree stumpApproximately 4’x2.5’x3’
Just To Be Okay2020943 Days Since An Overdose, 90 Day Supply of Sanity, Chemical Imbalances, Genetic Predispositions, Environmental StressorsDimensions variable upon installation
Just To Be Okay2020943 Days Since An Overdose, 90 Day Supply of Sanity, Chemical Imbalances, Genetic Predispositions, Environmental StressorsDimensions variable upon installation
Spectre2020excess paint from four years’ paintings, pour medium, acrylic on canvasApprox. 11”x14”x1”
Spectre (Detail)2020excess paint from four years’ paintings, pour medium, acrylic on canvasApprox. 11”x14”x1”
Spectre (Detail)2020excess paint from four years’ paintings, pour medium, acrylic on canvasApprox. 11”x14”x1”
Loneliness2020a poem, a pattern, 2 different yarns, G7 crochet hook, J10 crochet hook, I9 afghan crochet hookApprox. 65”x12”x24”
Loneliness2020a poem, a pattern, 2 different yarns, G7 crochet hook, J10 crochet hook, I9 afghan crochet hookApprox. 65”x12”x24”
Loneliness2020a poem, a pattern, 2 different yarns, G7 crochet hook, J10 crochet hook, I9 afghan crochet hookApprox. 65”x12”x24”
Creation/Destruction2020a poem, a pattern, charcoal Wool-Ease Thick & Quick Yarn by Lion Brand Yarn, N15 crochet hookApprox. 21”x14”x6”Creation/Destruction changes form every time it is shown and has no fixed orientation. It is shown with pamphlets containing the poem/pattern, like one would find patterns at a craft store. This was my first conceptual crochet artwork.
Creation/Destruction2020a poem, a pattern, charcoal Wool-Ease Thick & Quick Yarn by Lion Brand Yarn, N15 crochet hookApprox. 21”x14”x6”Creation/Destruction changes form every time it is shown and has no fixed orientation. It is shown with pamphlets containing the poem/pattern, like one would find patterns at a craft store. This was my first conceptual crochet artwork.
Organic2020welds, found steel wireApprox. 15”x11”x6”
Organic (Detail)2020welds, found steel wireApprox. 15”x11”x6”
Organic (Detail)2020welds, found steel wireApprox. 15”x11”x6”
Mother Your Place In My Heart (Still)2020keyboard, my mother’s sheet music, a funeral, an absenceDimensions VariableThis performance is an observance of grief. Particularly over the loss of my mother who used to play the piano.
Mother Your Place In My Heart (Still)2020keyboard, my mother’s sheet music, a funeral, an absenceDimensions VariableThis performance is an observance of grief. Particularly over the loss of my mother who used to play the piano.
Mother Your Place In My Heart (Still)2020keyboard, my mother’s sheet music, a funeral, an absenceDimensions VariableThis performance is an observance of grief. Particularly over the loss of my mother who used to play the piano.
Forget Me Nots2020found steel, grief4’x8”x1/8” Akin to placing flowers at a gravestone, "Forget Me Nots" conflates the two into one by permanently embedding flowers into a grave marker-like sheet of metal. This action likewise relates to the desire to cling longer to plants--and people--after they die.
Forget Me Nots2020found steel, grief4’x8”x1/8” Akin to placing flowers at a gravestone, "Forget Me Nots" conflates the two into one by permanently embedding flowers into a grave marker-like sheet of metal. This action likewise relates to the desire to cling longer to plants--and people--after they die.
Forget Me Nots2020found steel, grief4’x8”x1/8” Akin to placing flowers at a gravestone, "Forget Me Nots" conflates the two into one by permanently embedding flowers into a grave marker-like sheet of metal. This action likewise relates to the desire to cling longer to plants--and people--after they die.
Forget Me Nots2020found steel, grief4’x8”x1/8” Akin to placing flowers at a gravestone, "Forget Me Nots" conflates the two into one by permanently embedding flowers into a grave marker-like sheet of metal. This action likewise relates to the desire to cling longer to plants--and people--after they die.
Forget Me Nots2020found steel, grief4’x8”x1/8” Akin to placing flowers at a gravestone, "Forget Me Nots" conflates the two into one by permanently embedding flowers into a grave marker-like sheet of metal. This action likewise relates to the desire to cling longer to plants--and people--after they die.
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