The elements integrated into my works—produced through a combination of hard surface modelling and digital sculpting techniques—are often marked by an absence of function, fragmented forms, or a disconnection from their original purposes. When juxtaposed with other components, these elements resist clear identification, evoking a sense of ambiguity and estrangement. Their original roles, once practical or familiar, become obscured, transforming them into entities suspended between memory and materiality.

​

Typically composed within self-contained spatial arrangements, these pieces are conceived to inhabit dimly lit interior environments—such as studios, warehouses, or other secluded architectural spaces—where light and shadow act not merely as illumination, but as integral agents in shaping perception. Within these settings, the objects are granted a renewed corporeality, one that simultaneously conceals and reveals, suggesting both presence and absence. The scenographic quality of the compositions subtly echoes the visual language of monumental architecture. Yet, in deliberate contrast to the traditional values of monumentality—permanence, authority, and timeless grandeur—they embrace ephemerality, fragility, decay, displacement, and transformation.

​

Constructed from modest, often degraded materials reclaimed from everyday contexts, and objects visibly marked by the passage of time, these works aim to subvert the heroic impulse of the monument by foregrounding vulnerability, multiplicity, and relationality. Through their positioning and the tactile proximities they share, they reveal a network of interdependent elements which are fluid in their identity and interchangeable in their arrangement so as to reimagine monumentality not as a symbol of endurance, but as a mutable, living construct that speaks to loss as much as to legacy.