This installation marks the third phase of my sculpture system, grounded in body proportions and integrating glass as a material for temporal inscription. Developed through the Atmospheric Mechanism—a programmed structure of Arduino-controlled fog, scent, and light—it constructs an environment in which time is spatialized and memory is activated through atmospheric repetition.

The sculptural elements shift from black concrete to glass, initiating a new material logic: from opacity to translucency, from weight to fragility, from static form to trace. Glass registers condensation and erosion, marking presence and disappearance across surfaces. It extends the body’s logic into the environment—not through volume, but through accumulation, reflection, and environmental response.

Memory is not narrated but performed. Specific dates are restaged through fog density, salt formation, and scent dispersion. Scent functions as a nonlinear mnemonic structure, capable of collapsing emotional time into atmosphere. As part of the installation, the viewer encounters edible candies developed in collaboration with a flavortist, designed to match the perfumes—transforming the ephemeral language of scent into taste and embedding memory within the body. The work emerges from Agrippa’s Three Books of Occult Philosophy, employing planetary correspondences—Venus, Jupiter, the Moon, and the Sun—as structuring forces within the installation. These correspondences organize scent, color, and spatial logic into a system of symbolic weather.

The installation also includes a drawing made with the proportions of my body—doing, erasing, repeating—a mapped choreography of the planets’ positions on the dates I produced their perfumes. Celestial movement intersects personal time; the planets were there, moving, drawing. I was here, doing the same thing.

Realized as an interconnected, multi-city installation, the work explores how memory might be spatialized not only across the body, but across geography—linking locations through atmospheric repetition and ritual logic.

The title evokes a fractured temporality—where calendar time fails and emotional time loops. Here it’s always Monday, Thursday, Friday and Sunday extends the logic of prior works toward a ritual and invisible architecture, where atmosphere replaces structure and memory operates as environmental code.

Here it’s always Monday, Thursday, Friday and Sunday (2024)

Installation: Wax, plaster, concrete, black pigment, salt, water, LED, Arduino, water pump, fog machine, smoke machine, mirror, pastel, cotton paper, graphite, perfume.

Contemporary Art Museum MARCO, Pequod Co. Gallery