Salmacis (2016) takes its name from the myth of Hermaphroditus and the nymph Salmacis, who, in a moment of obsessive desire, fuses with the youth into a singular androgynous being. In this work, cascading forms, limbs, tendrils, and floral motifs, spill and knot together in a vortex of porcelain. Kneebone mentions how “'stories are very important for my work. The creation of other worlds, other times, other spaces and other ways of being”. The sculpture resists clear resolution; instead, it invites the viewer to contemplate transformation as an ongoing, unsettling, and profoundly human process.

Salmacis resonates as a meditation on hybridity, liminality, and rebirth. Like works by Lucio Fontana or Allison Janae Hamilton, it asks where the body ends and where myth, or matter begins.‍‍