Earth is the element of impermanent form and encompasses endless cycles of creation and destruction. Humanity isn’t exempt from these processes of change, a realisation that can destabilise our sense of identity, provoking discomfort. Consequently, we may be drawn to understand ourselves and others in artificially definitive and often binary terms (e.g., old/young, sick/healthy, etc.). These simple assessments achieve a reassuring distance from the changes we fear the most, but limit our capacity for connection.

My entry draws inspiration from the Welsh custom of the Mari Lwyd, an eerie puppet fashioned from a horse’s skull. Each year, it’s pulled from the earth and accompanies a band of wassailers from house to house as they challenge occupants to a battle of verses for access to warmth and refreshment. The troupe represents aspects of the human experience we seek to keep at a distance. The residents engaging with them honour the earthly cycles of change and the ambiguities they create. By confronting our discomfort and embracing the richness of these in-between states, we too can deepen our connection to ourselves and others.

The headpiece reverses the typical orientation of the skull, subtly modifying the structure to frame the wearer’s eyes. The design was modelled in ZBrush, 3D printed in PLA, and refined with modelling paste, sanding, and acrylic washes to achieve a bone-like finish. The Mari is decorated with elements drawn from local traditions. Double spirals are a common motif, with two paths merging at the centre. Here, they suggest the continuous cycles of change that define Earth as an element. To capture the custom’s rich musical traditions, I imagined the skull as a stringed instrument, complete with tuning pegs. The three strings represent the extremes of a continuum and the space in between, where seemingly contrary states braid into each other.

Note: Entries have been not been edited or proofread to protect the integrity of the maker's original meaning.