The act of bringing the body into direct physical contact with nature can create an impression on the skin. Flesh is permeable, a protean border that negotiates a relationship between self and world. Metaphorically as well as materially, the flesh is a thin envelope that inscribes the intersection between inside and outside but also the site of their joining. 

On marshy ground with her back pressed against a reed, the artist’s body follows the lines of the landscape creating a series of subtle movements. The reed traces a path along the skin and a drawing emerges—a rendering of the landscape as expressed by body and nature. The flesh serves, therefore, as a living canvas, a repository for both earthly and emotional expression; the reed as a mark-making instrument; and the drawing, an indexical trace that memorializes a past moment of contact, initiating a play of presence and absence.