"[1] She has also artistically and pedagogically explored the expansion of media archeology into non-Western practices "that incorporate old and new immersive technologies to understand how they enable engagement with other cosmologies that continue to co-exist and co-evolve in our global context of accelerated capitalism.
Arnold describes the work as building a "correlation between the terms in which abstract economic systems are represented and the physical extraction of raw materials by precisely interweaving statistical charts, images of monumental excavations into the surface of the earth and scenes of operatic divination."
Using references from 1979 fashion and history, the work reflects on the shift from Keynesian to neoliberal economic policies, and the consequences of economy in late capitalism.
The year that it was shown at Capture, artist and writer Helena Wadsley reread the work as having ties to a developing association with COVID-19's emptiness.
It has met regularly since 2016 and seeks to facilitate a support system for artist caregivers while critically exploring the place of motherhood and care work within the dominant culture of art production.