David Haines’ new work, as presented during the exhibition Everything Shakes, is an exploration of identity, relationships, and memory, revealing subjectivities within otherwise mundane objects. This exploration extended when Haines began casting the pill strips in porcelain—historically known as the “white gold” of the 18th century. This material choice reflected the period of the pandemic, a time when even common medications became scarce. The resulting series of over 400 cast pill strips blends both his and his mother’s medications, creating a fragile portrait that teeters on the edge of chaos. The tension between caregiving and dependency is mirrored in the material itself—porcelain’s delicacy hints at both fragility and resilience. Further casts of the packaging from the medication, rendered in plaster, initially appear as minimalist, modernist forms. However, upon closer inspection, they reveal subtle imperfections: tears, creases, and dents. These flaws disrupt the simplicity, drawing attention to the fragility and lived experience embedded within these objects. All of these works speak of an attempt to materialize what is otherwise fleeting and transient.