Of Freedom and Of Pleasure, draws inspiration from the Rose Parade in Pasadena, California—an enduring emblem of civic idealism and collective spectacle that began in 1890 as a celebration of California’s seemingly perpetual growing season. Rooted in rituals of abundance and renewal, the parade embodies both the optimism and hypocrisy of the American imagination. This work reinterprets this annual New Year’s event as a site where belief, labor, and spectacle converge, exposing the aesthetic and taxing biopolitical frameworks that sustain civic mythologies. Drawing from the parade’s archival imagery, the sculpture adopts an aesthetic of Rococo excess, horror vacui, and the grotesque. This dazzling yet precarious surface reflects California’s dream of perpetual fertility—an illusion sustained through extractive agricultural cycles that drain the soil, intensify wildfires, and rely on harmful, unjust labor practices. A literal drawing to create a temporary architecture. The sculpture pulls from the parade’s pageantry combining ceramic, steel and aluminum foil to form a “cultural body” in states of transformation.This float is futuristic, strange, dark, and ominous. More of a ruin than a celebration, a fragile drawing in space that visitors can walk through. The work was a fascinating moment of momentary public architecture not just only with the onlookers but the floats themselves.