Suspended between gesture and motion, form is captured in an instant where touch becomes physical memory. Through inversion, absence is sharpened into substance. What remains is the imprint of an action, a movement translated into stillness, a hollow that holds the residue of its own making.

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All color is absorbed and devoured; only form, gesture, and motion remain.
The sculptures hover between visibility and disappearance, at once drawing in and pushing away the viewer’s gaze. Cast from living bodies, the figures are imagined to occupy space through their emptiness to create presence through absence. The Vanta Black Series is currently a conceptual project and has not yet been realized in physical form.

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Emerging like a visible memory, shapes appear caught between material and light. Concept 6 is part of a study, serving as a foundation for future sculptural projects.Bodies, cast at life scale, are layered and suspended, examining how digital tools and physical processes can merge to translate human gesture and form into new languages.

Continuing the exploration of the human form in motion, Arms III extends the study into a more conceptual dimension. It captures not only the physical trace of movement but also the intervals between gestures, the pauses and suspended energy that shape presence. Casted in a stonelike material, the work is envisioned to preserve these fleeting moments with a sense of permanence. Through layered abstraction, it transforms motion into structure, examining how the body’s weight and absence coexist within solid form.

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Shaped by weight and weather, the stones remember the walls they once held. Now they stand free, gathered in a new form, their edges softened by the slow work of water. What was once fixed becomes part of a flow, a quiet reminder that even what endures is always in the process of becoming.

Visibility and concealment intersect in a tension between surface, depth, and suggestion. Industrial materials and fragmented, distorted bodies are used to disrupt the traditional notion of representation. What is shown remains suspended in an in-between space, somewhere between reflection, distortion, and fragment. The human figure is present as a form, yet never fully graspable; its appearance is altered through layers of color, mirrored surfaces, and visual interference. The result is not a clear image, but rather a trace, an echo,something that resists depiction and withdraws from being fully seen.

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A study of the human form in motion captures the physical imprint left by the body as it moves through space. The work emphasizes gesture, weight, and spatial tension, translating ephemeral movement into a lasting physical structure. Through abstraction and layered form, it examines intersections of human figures.

An imprint of touch, caught mid-gesture. The details remain, even as parts fall away, holding a quiet record of presence and absence side by side.

An expression of life's invisible architecture, the quiet, intricate dance of genetic forces: shaping, connecting, and defining every living being in ways beyond our perception.

Perception and duality unfold in a stark juxtaposition of color and image, challenging the boundaries between abstraction and representation. A dialogue emerges between presence and illusion, surface and depth, inviting quiet reflection on how we see, interpret, and construct meaning.