Colma (2024) takes its title from the California town known for its cemeteries, quietly inflecting the work with themes of memory and afterlife. A rectangular ceramic vessel rests atop slender blackened steel legs, its surface matte and earthen, as if unearthed rather than constructed. From its compact mass rise several sparse, darkened flower forms—upright yet restrained, suspended between bloom and wither.

Jaeger’s arrangement resists overt sentimentality. The flowers do not flourish; they persist. Elevated on a delicate metal structure, the vessel feels both supported and precarious, as though holding a fragile offering. In its measured stillness, Colma reflects on containment, commemoration, and the quiet endurance of life within spaces shaped by absence.