This thesis seeks to articulate a Sculpture as a phenomenon that can be experienced from inside and outside simultaneously in response to a non-linear conception of time. Through my practice-based research, I situate distraction as a productive form of knowing and utilize an onto-epistemological framework to explore performance as the labour of intra-action that materializes the art object (or phenomenon). I position containment as a technology to understand the entangled nature of humans, environment, and economy, and I explore Motherhood as a condition that requires an individual to be both subject and object. I draw on the work of many theorists, but central to this paper are the discussions of gender, material and ethics that I encountered in the work of Silvia Federici, Karen Barad and Zoë Sofia. Through my methodology of simile making, I situate the historical costume of Mother Ginger as an ongoing iterative artwork that invites viewers into it to reflect on relationships to the material and consumer world around us.