Within the artists philosophical system of collapsed time, identity, the personal brand by which a mother recognizes her child, wavers and reveals its nature. If not an illusion, identity is certainly an abstraction of a sequence of temporally-limited cellular resemblances. With each passing moment, the topography of the map of electro-chemical spikes and valleys by which we represent the physical brain, reads differently. Identity has changed, the child is different and yet the mother recognizes, within this change, a continuity. On a broad scale of time, this view makes possible concepts of the migration of souls, of re-incarnation as a metaphor for real change in a finite system.
Womb likewise meditates on maternal issue, but with Wagnerian bravado.
Within, a spectral image in a loincloth, a Christ figure or native specter, hovers above a landscape crowded with birds. It is not clear whether the figure is ascending or descending. The scene has been filtered through a pixilated, blood-tinged screen, conveying the color and mood of a season in hell. But in addition to its intimations of the supernatural, the oblique imaging of the photograph bears an unmistakable similarity to an ultrasound. The figure, in a state of amniotic chrysalis, floats out of time and space with the mass of birds gathering in the background, themselves gestating in a philosophical limbo.