Beginning with a mechanical pencil that persuades the mark-making of the ink that follows. Forrest adopted the concept of free association, within the preliminary stages of lead-use, to access dreams, memories, the imagination, and the subconscious. She uses Dali-ism strategies that deliberately disorient her viewer, to highlight the competing nature of obscurity, overtness, and absurdity. 

​

The two-dimensional drawings are then translated into three-dimensional forms with oil-based clay and found objects. Forrest devises idiosyncratic processes of mold-making that encourage impromptu, and yet confrontational, outcomes. The seemingly organic markings on the contours of the form reflect evidence of mutiny concerning the conformities witnessed within the arresting behavior of traditions, that extend beyond the formalities of artmaking. The material selection for casting employs various concepts pertaining to the artist's theoretical perspective, by investigating the functions, associations, and interactions between materials – essentially psychoanalyzing the medium.

​

Following this, typically, the written composition is orchestrated. A merging of ambiguous elegy and free verse poetry in the form of stylized information and opinion is determined. The series of writings independently links to the abstract forms of Forrest's sculptures and drawings. As breadcrumbs are dispersed, the viewer begins to understand the story behind the artist but whether they will ever know the entirety is constantly in question. This confusion mirrors the artist’s perpetual state of confusion. Through a trans-queer biological female lens, the vulnerable tone of the author invites the reader into the wording that describes matters they will care for on a humanistic level. This encapsulates warily selected words that embody the perspective-focused fossilization of trauma

and respective defense reverberations.