As a part of the installation, there is a sculpture made out of eggplants; the eggplant peels were dried and used for a sculpture, and the insides of the fruits were roasted to make baba ganoush. The paste was given to a poet and she was asked to implement a text based on the eating of the paste, so that together the artist and the poet could explore the connection between them. The work explores different ways to communicate and experience intangible conditionality, as well as how we affect each other with our gestures and actions. By dividing the outcome of the work into two, it is also about giving room to others, and to add another storyline to the thinking - leaving the viewer in between the two interpretations.

The second layer of time was brought to the space by intuitively clay-shaped glass sculptures that had retained moments from their 4-day visit, car trip, and a stay at home with dogs before entering the space. The sculptures were given to people the artist was in contact with during the making of the exhibition and were asked to spend some time with them and take them as part of their daily actions. After a period of time (decided by them who had them to communicate with), the sculptures were sealed with wax, wood and lemon, allowing the air of events and the moment spent with the sculptures during the excursions to be locked inside them. Special thanks to Kristina Sedlerova-Villanen, Essi Kausalainen and Mikko Kuorinki.

The floor in the installation has tea, water, clay, hay, plants and other organic materials under acrylic sheets, and it moves when walked on. The floor bases on quantum physics and on a study on energy, in which it is suggested that a person can not enter a room without affecting it. The floor as a part of the installation focuses on an idea of individual experience, but also the connection of the self to the outside and also with the invisible.

In this installation material is studied from a performative point of view and it wonders what happens to a sculpture or installation if it is received for example as food. The performativity of the material refers both to the information contained in the material and to the transformation of the material through bodies -changing it from solid into immaterial; into movements, thoughts and deeds, in which case the sculpture is not a permanent work but rather a starting point for an event that renders the sculpture immaterial. Underlying this is the idea of intangible communication between bodies and the environment, in which the air (as well as the body) carries stories, moments, and emotions with it. The work reflects on time and on different sensitivities of experience and thinking, as well as the different traces of materialities, combining them.