Human-made objects, natural artefacts and landscapes reveal their own history of becoming to us if we engage with their colours, textures and three-dimensional shapes. Seeing and touching the materials of the world triggers embodied resonances on our own corporeal materiality, our body. I understand touch as a metaphorical concept that illustrates the reciprocal connection between ourselves and the world – touch changes: We touch (and move) things, and we are being touched by the events of the world. 
Engaging with artefacts, objects and landscapes triggers the registers we hold in our memory about ways of using things, of our ways of thinking, feeling and making. When we become aware that objects, artefacts and landscapes show signs of abrasion or erosion, indentations, tears, marks and stains we feel an embodied resonance of the forces that lead to such material changes. As we become aware of the compositional structure of an assembled object we are given the opportunity to engage with the tacit knowledge of building things and working with materials. In my artmaking I use materials and objects to hint at the embodied knowledge that people have about working with materials, and the time frames that are involved in this. With some of my artmaking I might use paper surfaces to capture the mark-making processes of wind or rain….in order to document and visualize the forces at play.