My work is concerned with embodying tensions.
Sculpting is for me just as much a way of thinking as are writing, dreaming, reading, speculating on concepts and walking through different landscapes. In engaging with materials, I make use of their inner logic to put into tangible form what they help me to understand and to feel about the universe and its components. To this process I bring the visions that are forged in my mind not only during working sessions, but also during activities such as walking or listening to music. Sculpture is a world of mass, plane, line, weight, space and texture, in the same way as music is a world of sound, rhythm, pitche, melody and harmony. To compose a sculpture is to make something entirely self-referential that should be capable of standing by itself. However, the process of making is fed by the whole of my experience, regardless of whether this experience or the making process are clearly conscious or not.
We are caught in different scales of time and space; a thrilling and disquieting perspective that is constantly present in my mind. As is the awareness that human beings relate to their own planet in different ways, fluctuating between concern and neglect, pleasure and indifference. They live in an infinite universe, but rarely think about it, and mostly focus on spaces and times they can relate to.
I make sculptures and installations that often suggest what it feels like to witness the kinetic beauty of the Earth’s destruction.
The microcosm I am building is inhabited by abstract compositions, landscapes and strange creatures related to layered memories. It often suggests a micro-chaos – for the boundary between chaos and cosmos can become blurred, depending on the scale and perspective with which which we look at things and events. This is the very transition I am interested in.
When working with ceramics, I use a large palette of clays and minerals, and the firing is assigned a crucial role: it is expected to disrupt that which I have carefully constructed.
In building the pieces and using components which are likely to melt or warp, I try to orchestrate the upheavals that the firing can bring. Once a piece is removed from the kiln, it is extracted from its container if I have been using one, then ground or carved, and sometimes combined with other media. In this way I seek to enhance the way the components moved during the firing.