In Abstracted Bodies, the body exists within larger, intersecting systems. It becomes a site of inscription, an archive of marks, scarification, gesture, and trace through which histories of labor, trade, and power take form. These marks accumulate over time, forming dense strata where systems converge, sediment, and reconfigure. The body emerges as a temporal surface, shaped as
much by duration as by form. Time is an active collaborator. The work unfolds through labor-intensive, repetitive processes
such as extraction, soaking, staining, binding, gouging, and erasure, often extending over a year or more. This duration is not incidental; it is constitutive. Through it, control is deliberately relinquished: materials shift, surfaces respond, and natural forces intervene. The work is co-authored by human intention, material behavior, and the slow operations of time.

Through these processes, surfaces become sites where action and exposure accumulate. Materials carry indexical traces of their transformation, functioning as records of interaction between body, environment, and system. Marks appear as scars, inscriptions of pressure and trauma, while also signaling adaptation and resilience.

The collaboration with nature is not symbolic but structural, located not in representation but in method. By yielding to ecological processes and material contingencies, the work repositions authorship: nature is not a passive resource but an active force that shapes outcomes, redistributing agency beyond the human. The body is no longer bounded or singular; it is extended, dispersed, and continuously reconstituted through its entanglement with time, matter, and the infrastructures that govern both.

Language enters through the titles, combining Bamum (Shümom) script with code. Historically used to record, organize, and transmit knowledge, Bamum is placed in relation to contemporary computational systems, where language operates not as fixed structure but as process. The titles function as hybrid inscriptions that are simultaneously linguistic, symbolic, and computational, through which meaning is encoded, translated, and managed.

Drawing, writing, and code converge as interdependent technologies that structure the production and distribution of knowledge. The presence of Bamum situates the work within a longer history of inscription while extending it into contemporary logics of computation, where power operates through abstraction, data, and the regulation of information.