Even before the Anthropocene assumed the cultural and philosophical status that it now holds, practically severed from its original geological meaning, Kelly Jazvac contacted scientist Patricia Corcoran, whose work is germane to it. In 2013, the artist accompanied Corcoran on a seashore site visit to collect samples of conglomerate sand and plastic marine debris fused together into what they deemed “plastiglomerates”. While they originally assumed that the material had been melted together by volcanic activity, it turns out that the fusion of this material was created by mere beach bonfires. These pure products of our era, emblems of humanity’s geological agency, become Jazvac’s readymades, or, to use a term coined by Joseph Beuys, social sculptures, which have since been exhibited at Yale University’s Peabody Museum and at the MoMA in New York. Like fetish objects of the Extractiocene – why not another neologism, since the search continues for terms that define such vast earthly and atmospheric transformations – the artificial sedimentary rocks become eye-popping talismans of a near-future speculative exploration. Plastiglomerates satisfy our civilizational need for symbols, newfound vestigial objects composed of extraction-derived fossil fuels that have been transformed, consumed, and discarded, leaving us with a narrative as rich as any fragment culled from the Pleistocene. They testify to the ambivalence of an era that has consigned them to history.