Selected Works

 

Artist Statement

 

I am always learning a great deal from history, and my goal is to be in a dialogue with human history. There is truth in history, the truth of human presence. The Hall of Bulls (17,500 B.C. in France) represents the world and lifestyle of prehistoric humans. Stonehenge (about 3,000 B.C. in England) functioned as a space of social communication. These works tell us about ancient societies, drawing out many aspects of the human experience. As an artist, I want to be dialogue with history, with art, with sculpture, connected to my ancestors, from the past through the future.

 

My work seeks to capture the decay of time in the present. Using sculptural processes and forms of decay and transformation, I address the meaninglessness of hierarchical structural form, which was built by the current social predisposition towards capitalism, materialism, and a life obsessed with status. There is no meaning in these obsessions. They are not the subjects of life. We live in a social structure that forces every form to fit in to the system. But this is impossible; it is impossible to control a subjective form. Our bodies are organic, natural. Nature does not create perfect forms.

 

I seek transformation and the form of imperfection. It is a rebuilding process. The structures of modernity, assumed to be perfect, are corrupted and gone. But, in the end, humanity remains in the site, the architecture, and the object. There is a taste of the human condition in old architecture, a poetics of space to the architecture. Historic architecture speaks not only of the formal information of the building, but also of the events we create. Architecture shows the human experience and the subject of being in an event.

 

The everyday materials I use in my work summons not only a sense of familiarity, but also our everyday presence. Every material contains the human condition through the way we have used it. The transformation of materials, especially that of used materials, into different forms reminds us of our humanity while critiquing the results of the structure of capitalism.

 

My work is not structural, systematic or symmetrical. My work encapsulates “decay,” “transformation” and “the after-event.” Everything changes as time goes on. From birth to death, we have a limited life span. That’s why human life is so precious. That’s why sculpture across history fascinates us. When we look at ancient sculptures, we do not see an object or a statue; we see human life through the object.

 

My work is a representational site or an architectural object. In my work, I do not merely present; I am more interested in giving society life through my experience.