Evergreen operates on multiple levels. On the surface, it references the materiality of the work — most of it crafted from the wood of evergreen forests. But more significantly, the title gestures toward the enduring relevance of these found materials: the notion that they are still alive, still useful, and perhaps always will be, despite having been discarded.

A third layer of meaning emerges in one particular piece within the installation. I printed a marketing image of the EVERGREEN shipping corporation’s largest container ship — famously lodged in the Suez Canal — onto Douglas Fir floorboards. That single event, which brought global trade to a standstill and triggered a cascading economic crisis, serves as a powerful symbol of the fragility and absurdity of global systems built on constant growth.

My work confronts the flattening of material culture driven by the insatiable demands of globalisation. It’s deeply unsettling that I can’t trace the origins of most of the materials I work with, even though many are quite literally of the land — grown from the earth. Their original context, their story, has been erased. This absence of origin reflects a broader cultural condition: the homogenisation, commodification, and pasteurisation of life itself.