My passion for anatomy was ignited while studying the intricate biological makeup of the human body in medical school. I then veered away from the clinical context to pursue art studies, roused by the philosophical and artistic theories associated with the human body. These theories are rooted in my artistic practice as I question the essence of human relationships, memory, physical space, objects, and techniques to explore the body's inherent responses to its surroundings.
My work delves into the complex cultural and psychological aspects of sexuality, body politics, and the emotions and physiology of human anatomy. My creative process is guided by a specific methodology. It starts with extensive reading and research, particularly in areas such as philosophy and scientific studies related to humans. I translate my theoretical inquiries into a tangible and sculptural body of work, using a combination of fabric, silicon, foam, latex, as well as the contrasting properties of wood, glass, perspex, and metal. The aim is to create captivating pieces that blend the qualities of upholstery with the rigidity of other materials, drawing the viewer in and inviting them to appreciate both the artwork itself and the space it occupies.
I use my art as a means of creative therapy and as a form of expression for my queer identity. It becomes a carthatic process through which I embody past traumas and the associated mental health issues, transforming them into a compelling and polished sculptural body of work. Once the artwork is complete and shared with the world, I let go of it.
French philosophers such as Gilles Deleuze, Michel Foucault, Jacques Derrida, Roland Barthes, George Bataille, and Maurice Merleau-Ponty's book 'Phenomenology of Perception' (1945) serve as inspiration for my work. The latter book specifically explores the relationship between the body and its environment, identifying a philosophical concept known as the "Triangle Connexion" - the connection between the body, objects, and physical space. This concept, alongside Michael Fried's idea of "Art & Objecthood," has greatly influenced my sculpture practice.
These perspectives shape the way viewers perceive and interact with my work, prompting them to move through space and contemplate the tangible boundaries of the artwork.