The installation explores the idea that our relationships to objects evolve over time. The relationship to an object and its evolution can be the manifestation of the passage of life or periods of life. This installation uses LEGO to represent childhood, exploring visually the evolution of a child’s relationship with LEGO as a chronicle of childhood. 

     The finite space of the room represent the finite stage of life that is childhood. It begins with an empty floor, a baby blanket, and a pacifier—symbols of a time before play. Duplo bricks appear next: large, simple, and full of possibility, reflecting the early years of guided construction and innocence. As the installation progresses, standard LEGO bricks scatter across the floor, signaling the chaos and creativity of mid-childhood. A City set is built, then dismantled and reconstructed without instructions—representing a shift toward independence and imagination untethered from the original purpose. Larger, more complex creations follow—jets, vehicles, improvised structures—echoing a growing desire to assert identity, control, and ambition.

     Eventually, the bricks are packed into boxes. The room quiets. A suitcase sits at the end of the space, bearing a university sticker and holding a single orchid made from LEGO—a parting gift, delicate and precise, marking the transition from home to elsewhere. The installation frames childhood as a finite, enclosed period in time, mapped through an evolving relationship to a single object. LEGO, once a tool for play, becomes a vessel for memory, marking the passage from dependence to departure.

     The act of creating this installation is also an act of remembering. As the artist constructs each LEGO piece and places it within the timeline of the space, she is reliving her children’s childhood—the rhythm of their play, the shifting forms of their imagination, and the gradual letting go. Sitting in the space, building each phase by hand, she reconstructs their past from memory, allowing the tactile process of construction to mirror the emotional process of reflection. When the packed boxes are in place, symbolizing the moment the children outgrow their LEGO world, she creates the final piece: a single orchid, carefully assembled, and places it on a suitcase as a quiet offering to a child stepping into adulthood. In that moment, the installation is complete.

     The dismantling becomes part of the work. The mother figure—now performer, artist, and parent—gathers the loose LEGO bricks scattered across the floor, placing them back into their plastic containers. Finally, she picks up the suitcase and walks away, leaving the containers behind. These boxes, still full, are the memories of childhood—contained, preserved, and waiting. They remain unopened, but not lost. They can be returned to, revisited, like memory itself—always present, just waiting to be held again.

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