My work explores the cyclical and metamorphic processes that exist in geology, archaeology, and the organic world. Through these lenses, I question our perception of time—human and non-human, historical and universal—and how these different scales of existence intersect and collide.

When presenting my work, I aim to engage viewers in a reflection on the long- and short-term consequences of human action—on both ecological and societal levels. My installations, whether composed of single pieces, paired objects, or larger serial arrangements, invite a dialogue between material, space, and audience. The transformation of my objects into sculptures occurs in this exchange—when perception and presence merge.

Drawing from my artistic and scientific background, and grounded in ceramic research, I develop surfaces and structures that record their own formation. The cracks, tensions, and scars preserved within each piece become an intrinsic fourth dimension—a physical record of time’s passage and the forces that shaped it.

The tactile sensuality of the surfaces, the exposed “skins,” and the skeletal or structural layers within the forms are central to my language. The skin, as the boundary between interior and exterior, body and world, embodies the notion of the present moment—the threshold between existence and disappearance.

By working with ceramics and hybrid materials—often integrating technological or military fragments such as machine parts or digital components—I treat my sculptures as contemporary testimonial fossils. They stand as traces of our era’s material and ideological transformations, simultaneously fragile and enduring.

Ultimately, my work seeks to inhabit the tension between destruction and rebirth, between erosion and reconstruction—echoing the deep temporal rhythms of the Earth and the fleeting pulse of human civilization.