The relationship between time and matter is intricately woven. Fundamental versions of time evolved through cavernous reflection on the nature of the internal and external relationships of matter. The art of sculpture, workshop, matrix and laboratory of matter, has largely contributed to this process. In the broadest sense of the term, sculpture has expanded over the last century to become a truly borderless definition through the range of materials and objects it deploys. The artworks gave rise to a hodgepodge landscape of physical and immaterial substances extending the scope of the sculptor's vocabulary, from bodily waste to radio waves and bacteria. Nothing is on the table, not even anything itself. Sculptors are addicts to the material, abusers of all substances who forensically explore its limits, pushing, pulling and subjecting objects to contexts, directions and limits far beyond the intentions of nature and industry. This may be for no reason other than a childish playful experience, seemingly aimless fun ventures in the face of an economy driven by goods and services. This can also be an essential part of a trip for a case that best brings together an idea about the rampage. My own hands have been manipulated to pulverize wood, solder coins, embalm eggshells, glue dirt, copper corn, solidify newspapers, liquefy lead, capture sunlight, burn plastic , freeze paint, tear canvas, gel coat, bend doors, break glass and undo silk. Some of these trial and (mostly) error processes are visible in the finished work, but many may never see the light of day and only remain valid in the present of the process. An intimacy develops between the material and the manipulator, it becomes an extension of yourself, sometimes it can drive you crazy, sometimes it swallows you whole, sometimes it propels you into another dimension altogether. It seems entirely appropriate, then, when combined with the flexibility and constant reinvention of the rules of art, that sculpture is perfectly placed to complement, invent and challenge versions of time through its versions of matter . And it is a particular version of the material, expressed through its identity and evolved through the practice of the workshop which forms the basis of the present article and through which time will be explored. Specifically, I will focus on understanding and articulating matter in terms of material and abstract states and what this means for time. How might time be reported as a means of determining these identities? How could time itself be considered a type of matter that also manifests material and abstract versions? How can we attempt to materialize and reign over destabilizing abstract versions of time through a process of abstrocrystalization (sic)? Finally, I will examine how contemporary time can be understood as having become increasingly abstract within the context of a more general era of accelerated (sic) abstraction (AAA) and the sociopolitical impact that seems to be playing out in response .