UH: After the matter of light this is an altar piece, and I call them supports for meditation. There is no figure they're meant to be meditative. The objects stand in as kind of representation for questions or for prayers. When I began making the work for York, I began to ask myself several questions, what is it that you what when you're called, you know, I felt like I was called. And when you you're facing this call, I have to take it into my imagination and ask, Well, what do you want from me? What do I want from this? Because, you know, we both have to be in dialogue with each other. And I wanted to know what was on this journey.

So, there's an element of divination that you know, is represented through the cowrie shell. The objects that you see on the left, with the stone and this sort of water type form coming out of it, speaks to an idea and alchemy that the stone is the Opus, it's what we all want in life, it's a representation of this idea that there's a gem to be had on the journey, on an authentic journey, on, you know, kind of
agreeing to be formed and agreeing to be transformed in the process, it's two elements coming together that are completely contradictory, but yet again, they unite to create something that is a gem. You have something as solid as a rock, but then you have the fluidity, water.

AB: Then you have flame, with fire on the candle...

UH: Yeah, and it's wanting, me thinking through ideas of wanting to spread the light wanting. And then that's, you know, the agency that the candle has, having that foot there, and all these exist like their actual objects that I've made. It's this constant idea of uniting existing materials, and building on them, having conversations with them, to create something new, to create something that is more symbolic.