‘The Water Garden’ materialises a paradox of between space – the space between virtual and real, data and object. 3D printed ceramic, porcelain, and plastic vessels reside amidst pools of liquid data. The dimensional forms, monuments to the action and event of transformation. In mineral to object, data to real, Stephanie Overs suggests there is no ‘virtual space’ in opposition to ‘reality’, only shifting states of access. In contemplating ‘The Water Garden’ and its ‘vessels’ of data, the mind drifts away from the body, entering portals of virtual consciousness and alternate realities.