Sebastian Lijó operates within a locus of spatial investigation and extrospection, employing an interdisciplinary modal of artistic production that employs certain strategies of excavation, embellishment, and exhibition. His preoccupation with debris lies in its capacity to act as an archival substrate, and in the process of immaculation that objects undergo when embedded within an underground rhizomatic network. Politically concerned with exclusionary tactics and their physical manifestations in a space such as Yale, whose form asserts certain power dynamics. Viewing construction as a methodology and holding onto the idea of the prototype versus the refined object, his material palette consists of salvaged brick, stone, paper, and metal.