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.