This series of three works began with In Conversation, formed from mining core samples, cylinders of rock drawn from deep within the earth in Northern Ontario, stripped for information and left behind. Extracted from landscapes shaped by industry, labour, and long- standing resource economies, these fragments carry the quiet residue of those histories. The cores are cut into discs, polished into pendants, and threaded into a tensile structure, where they find new meaning through tension and balance. Each disc, unique in its veins, fractures, and surface markings, speaks with quiet autonomy. Together, they form a suspended dialogue, an assembly of fragments, each one a sentence in an unfinished conversation.

What remains is not neutral. These fragments carry histories of removal, and are reassembled without attempting to resolve them. There is beauty in the reassembly. But also a hush. A stillness where something once passed through. A bear and a fox.

Then, an interruption. A flicker of reversal. The Catch surfaced with a glint of mischief, a quiet confidence. The chase was no longer the story. What once gave pursuit had always been the prize.

The wolves had been gathering, slowly, then all at once. They moved with quiet purpose. Kin is the echo of that alignment, and within that space, a sense of being held. A sense of belonging. A wild trust shaped in motion.

Across these works, stone is threaded, suspended, and held in relation, treated through a language more often associated with fibre. Line becomes connective. Tension becomes structure. Meaning forms through accumulation.

Rooted in gestures of folk storytelling, animal, symbol, repetition, the work moves between fable and form, where memory is carried through the hand and held in material.

These works carry the rhythm of geology and fable, threaded with absence, recognition, and return. Mourning becomes memory. Memory becomes pattern. And the pattern holds.