Sightrance began as an act of integration, moving between a ceramic practice and a digital one, between the handmade and the virtual, between the private and the spatial. An environment built to be moved through, not looked at.
The clay figures are hand-sculpted originals, scanned and brought into digital space. The voice narrating the environment came from an attempt to transcribe handwritten journals, pages of private thought fed into a machine that couldn't read them. Rather than text, it returned poetry. Something about the volume or the mess of the handwriting overwhelmed it, and instead of words, it gave back what they seemed to feel like from the outside.
This failure became the center of the work: a record of what happens when a machine meets more human complexity than it can process and reaches, almost by accident, for something true.