The sculptures in the Relational Object Project engage the viewer with instances of gestural interaction. They appropriate and re-invest Lygia Clark鈥檚 strategy of material and sensory juxtaposition. They begin with quotidian sensations, like the feeling of eyelashes brushing one鈥檚 skin but use embedded electronics to create sensory juxtapositions. These objects amplify the paradoxical nature of gestural communication and simultaneously focus attention on the embodied aspects of its interactions.