I started working on Aquariums as a response to seeing erotic ancient Peruvian pottery in museums. The art was thrown into a new “world,” where its depictions were taboo and far removed from its original context. The pottery now ridden with curatorial projections, attempts to digest and reason with the art. The speculation was peculiar. Often we regard history as subjective yet the language around it desires to be concrete. It became  a useful exercise to critique how frameworks of knowledge is disseminated. In amusement, I imagined narratives being desperately forced by anthropologists on the brink of insanity, from the sight of a ceramic penis. Those taken aback by the medium of pottery, depicting fellatio, inspired detailing rituals with arguable merit or proof. Their    speculations to me were “worlds of befuddlement.” I looked to artworks around the globe, many from societies long passed, to craft illustrative habitats for fantastical fictions, Aquariums.