The Lichen Clock thesis engages with the slow, cyclical rhythms of lichen growth as a counterpoint to capitalist time, inviting audiences to explore the concept of ‘lichen time.’ By bridging ecological, anthropological, and artistic perspectives, the research challenges human-centered notions of time and sensory experience. Lichens - symbiotic organisms characterized by slow growth and ecological resilience - inform studio-based experimentation and design approaches to making jewelry and installation. The Lichen Clock’s conceptual framework draws on interdisciplinary theories, including Anna Tsing’s Anthropological Ecology (2015), Robin Wall Kimmerer’s Gathering Moss (2003), Howard Risatti’s Craft Theory (2007), and Theodor Adorno’s Free Time (1977). Experiencing the time of another species is considered an “embrace of uncertainty”. (Tsing, p.21) The exploration of surface textures employs a hybrid-making process, synthesizing manual craftsmanship with digital fabrication, contributing to craft creation and product design. The research-creation methodology draws upon fieldwork including digital and analogue surface capture from lichen. The familiar surfaces of everyday objects are altered, and dialogues emerge between industrial production and organic forms, inviting viewers to engage with alternative perceptions of time and texture.