Tapetes (Carpets) involves the appropriation of everyday objects and staple elements of still lifes into forms that merely insinuate a sculptural character. This approach problematizes the place of—and discourse surrounding—the contemporary three‐dimensional object, exploring what the artist calls “pre‐sculptural thought,” i.e., the moments preceding the determination as to whether something will constitute a work of art or languish in the condition of fragile, unfathomable, and/or humdrum thing.