To Locomote presents eight sculptural elements, each 3-D printed in gypsum and nylon, arranged within a powder-coated steel toolbox that itself functions as both container and compositional frame. The work's formal tension lies in this pairing of industrial utility with objects that resist easy categorization, fragments that read simultaneously as anatomical casts, archaeological artifacts, and prototype components from some indeterminate technological process. Glynn treats the toolbox not as neutral storage but as a display system with its own cultural weight, invoking the language of labor, craft, and masculine work culture while quietly subverting it through the uncanny materiality of the printed forms within. Liz Glynn consistently investigates how civilizations encode value, loss, and aspiration into physical objects, and To Locomote extends that inquiry into questions of movement, capacity, and the body's relationship to its own mechanisms. The title suggests potential rather than action, a state of readiness or latent energy, and the segmented nature of the eight components reinforces this sense of something assembled but not yet activated. The choice of 3-D printing, a process that translates digital information into tangible form, adds a further conceptual layer, collapsing the distance between blueprint and artifact, between intention and realization. Signed and dated, the work measures 91.4 by 55.9 by 10.2 centimeters and carries the hallmarks of Glynn's rigorous material intelligence. Collectors will recognize in To Locomote a characteristic compression of historical and technological registers into a single, quietly commanding object. Represented by Paula Cooper Gallery, Glynn occupies an increasingly significant position in contemporary sculpture, and works from this period in her practice are held in institutional and private collections internationally.