AurenTerra’s interdisciplinary enquiry begins at sites marked for future erasure. From these places she juxtaposes imminent chaos with their current silence. These two states can be  witnessed simultaneously within the Pendula Pond. AurenTerra employs sculpture, light, video, photography, and installation as means of time travel. Her work questions prevalent archaic systems of extraction, exploitation, colonization, ecocide and human exceptionalism. Her materials–recycled steel, abandoned railroad ties, discarded textiles, and rare earth minerals, defy any possibility of manufacturing, reproduction, or environmental harm; yet are intrinsically self-implicating. She says, “Object obscures material to the point that it completely disappears.” Pendula Gardens are an ongoing attempt to resurface this materiality. She works to illuminate the wondrous atrocities of modernity, hidden in plain sight. AurenTerra draws upon sources as wide-ranging as rare earth geology, fashion, maximalism, overshoot science, geopolitics, technocratic timelines, and climate psychology. Her work is a reminder of mortality and the transference of multigenerational energy. She says, “Pendula Pond’s are spaces reserved for solitary questioning, akin to memorials, reflection pond’s, and zen gardens.” AurenTerra began creating Pendula Pond’s as a means of resolving her own lifelong battle with mental health spawning from moral-misalignment, willful ignorance, and cognitive dissonance–one that became apparent during her 10 year career as an Art Director in corporate advertising. She says “It has become increasingly more difficult for humans to decrypt externalities in order to extrapolate their implications.” With great urgency AurenTerra’s Pendula Pond’s invite viewers to bracingly confront the past and present while concurrently eliciting bespoke, transcendent visions of how to move forward without forsaking who we are.