Exploring themes centered on the feminine and the queer pastoral, this time-specific, multi-hour performance sprawled across rural, eastern Iowa, utilizing the landscape as a character in its own right. It was high summer, when the days were long and the sun still descended late. The sun was just beginning to turn as the performance occurred.

The piece began as I started to walk through a lush soybean field.

Simultaneously, my partner is walking across an untamed garden on the other side of town. It has been covered by a path of shiny, black tile.

She collects an empty, cracked ceramic pitcher that resides at the end of the tile path. My partner journeys to a nearby river to fill it with water.

Meanwhile, I am running through the soybean field, nearly falling every few feet on the uneven path that has been carved out of the land. I run and run and run.

Ultimately, I sink down onto my knees, exhausted.

My partner arrives, and begins walking towards me, through this soybean field, cracked pitcher in hand. She walks up to me. I look up at her from my kneeling position.

My partner begins to pour the contents of this pitcher onto my chest, fully saturating the front of my dress, rinsing the medal I am wearing of Mary Magdalene.

Once the water has run out, she kneels before me. My partner places the pitcher in my hands, and kisses me fervently.

She stands up, and starts walking through the field, headed towards where I had begun the piece.

I return to the garden that is covered in black tile. I replicate her steps, and restore the cracked pitcher, once again empty, to its point of origin in the performance.

I walk away.

The sun has almost fully set in the distance.