Corinne Beardsley’s geological sculptures, installations, and performances reflect on touch, mortality and sensory embodiment through haptic records of clay. Clay’s transformation returns to earthly, tactile bodies in response to the disembodiment from objecthood and technology. Recent projects include casting finger drawings into fossilized slabs, geological fountains of desire trickling with water, the absence of figures in subterranean cave forms, or massaging raw clay bodies with gestural and energetic touch. Her inverse casting process imagines objects from both the future and past simultaneously, with a digital / analogue aesthetic.