On some level, my work revolves around the question as to whether somaesthetics may someday become what humans long for. More timely than ever, the topic of human consciousness and technology is frequently discussed both within the field of science and in broader public discourse. This dialogue includes the evolution of consciousness from physical matter composed of elements such as carbon and hydrogen. One might think that our minds, including our artistic notions, are no longer a mystery nor are inherently magical in nature. However, Instead of seeing this reductive materialism as a limitation, I express my optimism and appreciation for it as a journey that fosters boundless fuel for my creativity. I am pushing the boundaries of my art by proposing that all terrestrial materials are formed by primary elements in a state of constant and perpetual change. For instance, I offer a novel perspective on viewing physical materials as living agents—along the lines of energy converters, atomic circulators, living cells, or chemical catalysts—rather than perceiving them as static objects. This perspective can be translated through metaphors such as procreation, death, and the unity between animate and inanimate substances, which converge in various terrestrial ceremonies. I will broaden the boundaries by suggesting that all terrestrial materials exist within a life-cycle that is ever renewing itself, whether natural, manmade, or divine.
I respond to a range of visual influences at a sentient level, which often yields blurred memories of representational components synchronized with figments of my imagination. For example, there are recurring images of industrial landscapes, biomorphic forms, and European Classicism, in which ideas of elevation and dynamism flow with fluidity (think Baroque), as well as, cultural influences, such as Japanese Pantheism, wherein artifacts have been historically considered a direct continuation of all natural events and phenomena, but not solely as representations of these things.
I attempt to understand the properties of different substances through casting, welding, burning, and oxidation. One of the highlights involves my proprietary compounds, i.e. prima materia: calcium, other minerals, and polymer, sourced from marine organisms, animal bones, fossils, and various quartz that are often finished through traditional stone polishing methods, yielding a luminous effect. This original prima materia frames the illusion of unforeseen amalgamation beyond the reality of materials melting points that represents an unfolding state of my material and conscious processes. The carving gesture, such as scraping away an object’s history, purifies their previous identity and purpose. For the conclusion, my variety of non-representational forms challenge the viewer’s expectations, particularly with respect to mass and weight through metal and wooden structure and construction. My entire cyclical processes, both additive and reductive, involve deeply immersive procedures, and within these processes, I embrace the physical world I inhabit by means of its intrinsic flow state.
While highlighting physical objects that have long served what Postmodernism likes to criticize--that is the elevation of objects that go beyond the basic exploration of structure and transcendence, my process leads to conclusions based on structure and emergence in formation. I express that, not by conceptual appearance through narratives, but by a sculpture’s self-evident existence that naturally emerges in the human domain of perception. By reconciling an anthropocentric desire to create a notion of eternity with the dynamic nature of ever-changing alchemy, I explore liminal spaces where reality becomes transient and imagination shapes intransigent matters. One way to define my body of work is to emphasize multiple solidifications in form—not as images intended to be final and permanently remembered as monuments, but as a means of engaging with a sense of paradoxical permanence through the transformation of materials. In this process, my stream of consciousness and material transformations unfold one after another.