Three rocks balance acrobatically on top of one another, they are entwined with three lightbulbs, partnered and ascending in unison. Stainless steel wires bind the lights and their trailing electrical wires to the surface of the rocks, contouring the ridges and outcroppings. The form of the rocks, their volume and nuances, are highlighted by the wires that stretch across them and affix the light components into place. The wires draw functional designs upon the surface of the stones. The lights are commensal in relation with their hosts, and the electrical wires epilithically trace paths downwards, navigating the crevices and other binding wires until they trail off towards a source of power. There is trust between the rocks and the bulbs, amongst the weightlessness and whimsy; trust because of whimsy, or whimsy springing from trust; an optimistic companionship.

There is a material kinship in the lamp. The raw: the minerals of the stone, crude and bare. The refined: the steel of the wires that bind the lights to the stones and the tungsten filament waiting to become electrified. The transmuted: thin glass of the bulb, the protective cardboard and porcelain of the sockets, the results of factories and industry. A story is told in the materials: a beginning, middle, and an end. The culmination of processes, geologic and anthropic, composed together and laid bare.