Paper turned to pulp is hardened into portraits that merge anatomy with architecture recalling physical wounds and metaphysical information in a play on minerals, monuments and masses. Papier-mâché torsos are composed of shredded words taken from used copies of the Bible, football magazines, art history books, written exchanges with friends and other archived texts. Four are grouped together and named after the ballerinas whose movements are coordinated to create the illusion of a single body- a reference to the movements of Dudek and his peers inside the stadium and the performative staging of their actions.