Each cup is glazed with text sourced from real Tinder bios of 20–30-year-olds in the city where the piece is exhibited (Boston in this case). Without photos, prompts, or profiles, viewers confront the self-branding we’re used to absorbing in half-seconds.

The cups function as proxies for desire and vulnerability — “thirst” in both the literal and cultural sense. If used, they invite a quiet intimacy; drinking from the cup mirrors the act of buying into a match.

Presented in a vast grid, the installation recreates the overwhelming repetition of the digital dating pool, but with physical weight and presence. During the opening night, all 100 cups were sold within four hours, completing a cycle of longing, choice, consumption, and connection.