My appetite for anatomy ignited while studying the intricacies of the human body’s biological makeup in medical school. I then stepped 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 practice as I question the essence of human relationships, memory, physical space, objects and techniques to identify the body’s intrinsic reactions to structural and environmental influences. My work explores the cultural and psychological complexities of sexuality and body politics, human anatomy with its emotions and physiology.
My creative process follows a specific methodology. The starting point is reading and researching, especially a lot of philosophy and human-related scientific studies. I articulate my theoretical inquiries into a material and sculptural body of work emphasized in the smooth synthesis of fabric, silicon, foam and latex to captivating qualities of upholstery and the more rigid properties of wood, glass, perspex and metal. When witness produces a magnetic attraction to the subject matter, stimulating the viewer to relish in its presence and the space it occupies.
I use my work as a creative therapy and as an expression of my queer identity. An art therapy process in which I embody my past traumas with its related mental health issues into a compelling and clean sculptural body of work. I let go of when the artwork is produced and put out there into the world.
French Philosophers such as Gilles Deleuze, Michel Foucault, Jacques Derrida, Roland Barthes, George Bataille, Marquis de Sade, and Maurice Merleau-Ponty’s ‘Phenomenology of Perception’ book (1945) inspire my work. The latter is focused on the relation between the body and its environmental influences, identifying a philosophical concept entitled Triangle connexion : body – object – physical space. This connexion between those three elements and the concept Art &
Objecthood defended by Micheal Fried triggered my sculpture practice. It shaped my perspective on how the viewer perceives and interacts with my work, which influences the viewer, encourages him to move in space, and questions himself on the tangible limit of the artwork.