THE END OF THE ROAD: PART 1
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THE END OF THE ROAD: PART 2
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The End of the Road is a two-part body of work that emerged through grief. Although the pieces were created years apart, they became connected through a shared exploration of loss, memory, and the ways we navigate life after death.
The first work was created following the death of my father in 2021. Through a site-specific installation of patterned textiles, fading colour, and footprints made from black sand, it reflects on the passage of time and a life that ended abruptly. The pathway ascends a staircase before stopping midway through a final step, a gesture that speaks to an interrupted journey and the profound absence left behind. Hourglass motifs, seasonal references, and naturally fading dyes act as markers of impermanence, tracing the fragility of both life and memory.
Following my father's death, I became power of attorney for my grandmother as she lived with dementia. After her passing in 2025, I created the second work. Unlike the abrupt ending of the first piece, this work considers grief as an ongoing act of remembrance. Constructed from clothing belonging to both my father and grandmother, it forms a pathway leading toward a window overlooking the city. Quilt patterns, tiled floor motifs, and reflective ginkgo leaves reference memory, domestic histories, and the shifting nature of recollection. The ginkgo, a plant associated with dementia treatment, becomes a symbol of both memory and forgetting.
Together, these works trace two distinct experiences of loss: one sudden and unexpected, the other gradual and prolonged. They explore how grief alters our relationship to time, space, and the people we carry with us. Through pathways, patterns, and materials imbued with personal history, The End of the Road reflects on endings, remembrance, and the enduring presence of those who remain part of our lives after death.
The first work was created following the death of my father in 2021. Through a site-specific installation of patterned textiles, fading colour, and footprints made from black sand, it reflects on the passage of time and a life that ended abruptly. The pathway ascends a staircase before stopping midway through a final step, a gesture that speaks to an interrupted journey and the profound absence left behind. Hourglass motifs, seasonal references, and naturally fading dyes act as markers of impermanence, tracing the fragility of both life and memory.
Following my father's death, I became power of attorney for my grandmother as she lived with dementia. After her passing in 2025, I created the second work. Unlike the abrupt ending of the first piece, this work considers grief as an ongoing act of remembrance. Constructed from clothing belonging to both my father and grandmother, it forms a pathway leading toward a window overlooking the city. Quilt patterns, tiled floor motifs, and reflective ginkgo leaves reference memory, domestic histories, and the shifting nature of recollection. The ginkgo, a plant associated with dementia treatment, becomes a symbol of both memory and forgetting.
Together, these works trace two distinct experiences of loss: one sudden and unexpected, the other gradual and prolonged. They explore how grief alters our relationship to time, space, and the people we carry with us. Through pathways, patterns, and materials imbued with personal history, The End of the Road reflects on endings, remembrance, and the enduring presence of those who remain part of our lives after death.