The Passion (pool noodles) (2026) repurposes forms of familiar swimming aids into a wall-mounted soft sculpture made from reclaimed printed vinyl and welded aluminum. Enlarged photographs of human skin cover the tubular forms, lending an unsettling bodily presence to objects associated with play and buoyancy. Originally conceived as a freestanding sculpture, the work was reconfigured as a wall hanging, shifting its relationship to gravity, support, and the viewer’s body. Found aluminum forms that were welded together to held up the tubes instead trap them into a wildly flailing configuration. Part of the ongoing Flotation Devices series, it explores the tension between vulnerability and protection: objects designed to keep bodies afloat become skin-covered forms that appear to require support themselves.
