This small experiment series was somewhat inspired by mandala sand drawings found in
Tibetan Buddhism. What struck to me was their impermanence in nature, being that they are made of sand-
a loose substance that can be considered fragile due to how small and light it is making it very prone to the slightest movement/disturbances.

I thought that their fleeting state, which is always shifting (making it anything but static), and almost fragile and light nature would provide as a good metaphor to memory, a framework I have been working with in the past semester.

I felt like the nature of sand reflected the nature of our memory. Constantly shifting. Prone to change. Temporal. After layering several drawings onto the other, the image becomes more and more chaotic and indistinguishable along with other interruptions such as me walking over them, and the nature and sand and it's physics to create these tiny avalanches.

This is also why I decided to do them on sand, and not charcoal on paper or paint- because I find drawing on sand to be less tangible of a mark making method. It's not going to stay there forever and it even shifts and gets interrupted a lot in the process of making it (which is what I am trying to show through this experiment).

The drawings I made were archives from my childhood. Cartoon characters, bathroom layouts, people, and they all could be found on the section that says quarantine (buffer zone) In fact, they were taken from there! This rhizomatic (and almost circular) way of working was something I was exploring during the lockdown.

What is portrayed on it's own, however, is not the most important part for the work, after some personal reflection, but rather how the work is executed- for the work is not about a static image on a surface- because I really could be drawing anything, but the point of this experiment is to show the mutable nature of the sand and how it affects the drawing itself as a parallel to how memory may function.