James Benning works with film, focusing on a sense of place. His work is often built from long, unedited takes. The lengths of his films are determined by the lengths of film he’s shooting on. A parallel can be drawn with my work in that the length of my film is determined by the amount of time the pots take to dissolve. A few people have asked me why I’m not speeding it up so the viewer can experience a lot of the work all at once rather than relying on their patience and I feel it would do the subjects explored within the work a disservice, especially since I’m looking at the retelling of ignored histories and long term periods of silence.