This doctoral research investigates (trans)formation as an artistic research methodology and confronts the ethical paradox of artistic practice within the Anthropocene, as artists depend on the same extractive systems they critique. This paradox is particularly evident in glassmaking, a practice dependent on silica sand extraction and energy-intensive kiln firing processes. Drawing on an interdisciplinary framework that integrates environmental philosophy, contemporary art, and material studies, the research develops sculptural thinking models. These thinking models are artefacts that generate, store, and transmit knowledge about extraction, transformation, and contamination, processes that define the Anthropocene. Through working with contaminated waste glass and alternative low-impact production methods, the research embraces impurity as both an aesthetic and conceptual driver, that embody the volatility of disrupted landscapes. Sandcasting functions as a central, waste-free mould making technique, positioning the interface between molten glass and granular terrain as a transformative zone that records moments of material interaction. Within the kiln, processes such as melting, flowing, fracturing, and reforming compress geological timescales into perceptible durations, revealing glassmaking as both a co-creative and geological act. By drawing parallels between kin-forming and geological processes, the research renders vast and abstract landscape transformations tangible. This research therefore reframes transformation as a critical lens through which to understand and engage with the Anthropocene.