ROT INFINITY
PROSPER–LOOP Residency, Nea Styra, Evia, Greece — October 2024
Rot Infinity is a sculptural trilogy installed along a hillside in Nea Styra over the course of a month-long residency in Greece. The title comes from the Albanian word for wheel – rrota, rrotë.
The work draws from Parmenides’ On Nature — an early philosophical poem describing the route into the underworld and an encounter with the presiding goddess.
Using this narrative as a framework, I staged a physical journey through the landscape. The installation unfolds as a guided procession downhill.
Materials were sourced directly from the hills and surrounding construction. The works emerge from the site both materially and conceptually. They are not placed on the hillside; they rise from it.
“Pulling the chariot at full stretch”
I. PORTAL
Lemniscus
Rebar, blown-out tire, charred wood
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I. PORTAL
Rebar, blown-out tire, charred wood
A dirt road on its downhill path opens onto twin concrete columns — a gate. Raised high on the left column is a lemniscate (∞), the human glyph for infinity, assembled from salvaged rebar, the stitched flesh of a blown-out tire, and charred wood from nearby campsites. Its form resembles an alarm-clock “8” and a ritual object — a symbol of exhausted continuity.
Here, human infinity is not transcendence; it is debris straining for transcendence.
“The sound the chariot makes as the daughters of the sun draw him along, the sound of a pipe (syrinx)”
II. CONDUCTION
Syrinx
25 red broom handle-poles
Twelve red poles hover among the wildflowers. Their appearance draws the viewer downhill to the best vantage point, above an abandoned sheepfold. The poles do not produce sound, yet they mark a path of transmission — a silent conduction through the hills.
“In the middle of these is the divinity (daimōn) who steers everything”
III. RECEPTION
Daimōn
Rebar, metal coil, wax, PVC floats, persimmon, acrylic nails
In a clearing among the weeds stands the Daimōn — an upright figure guarded by twisted rebar and industrial coil. The altar has been tended: a persimmon placed behind her, PVC floats carried inland from the sea, acrylic nails embedded along the stone wall, and a wickless candle.
Her figure is hidden, yet receptive.
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Procession
Procession
On the final day of the residency, I presented the work as a sunset procession.
Participants gathered at the portal. I asked for silence and pulled open the fence enclosing the plinth of the Lemniscus.
With a red telescopic pole as a walking staff, I led them past the excavated hill — a halted construction site delineated by the fence.
Rather than cross the exposed clay, I cut a path through the grass, reaching a low stone wall. I demonstrated the opening, climbed through, and waited, offering a hand to those who followed.
We were overlooking a hill of wildflowers. The sun setting behind us. Twelve red lines striking forward across the field.
The group rested along the stone ramparts of a sheepfold overtaken by wild grasses — a ruin.
I walked to an opening on the south side of the structure and sat at the threshold. We watched the red poles shift in the falling light. Below could could be heard the faint bells of sheep.
I descended into the sheepfold and touched the altar.
Videos documenting the development of the work