Rattling examines the roles of ritual, creativity, and play in the healing process. Like the segments of a serpent’s rattle, this body of work serves as a record of growth and evidence of transformation. It makes the inner work of healing visible.

A Rattling Invitation-
Beyond the threshold of this tiny house, 
this witch’s cottage, 
another world awaits. 
Come in.

My spells hang in the air, 
my shape shifts, 
I move from material to immaterial, and back again.
Come in. 

I travel on the serpent’s back, the healing path. 
She showed me how to rattle.
Let me show you.
Come in. 

The exhibition showcases a collection of sculptural and installation-based artwork. Each sculpture in this display is carefully paired with a small arrangement of ritual remnants, symbolizing distinct phases in the healing journey: soul retrieval (inner child work) and cord cutting (boundary-setting). Flores thoughtfully transforms these challenging processes into tangible forms, portraying them as mythical creatures. This creative approach helps Flores in confronting the grief, rage, and fear that often accompany such transformative experiences. The exhibition also features a soundscape that acknowledges the profound and cyclical nature of this healing journey.

Nestled discreetly in one of the galleries, a closet installation provides a tantalizing glimpse into what the artist calls a "witch’s utility closet." This whimsical closet serves as the artist’s playful way of crafting a narrative around a woman's inherent power(s) and her capacity to heal herself.

And lastly, the dollhouse installation serves as a personal reminder to the artist, urging her to consistently prioritize play. Creating the dollhouse allowed Audrya to intimately explore and connect with the Sala Diaz house, embracing both its luminance and shadows. It provided a secure space for her to unveil how her sculptures morph into regalia, acknowledging the resilience and work of trauma survivors, cycle-breakers, and the broken-hearted.