TIME

Time is a bronze sculpture cast from melted wax, shaped by the impression of a stone I found while mudlarking along the River Thames. The concept behind this work is to freeze a melting form—to preserve a moment of permanence within the constant flux of life. This process of transformation and becoming reflects the essence of existentialism, inspired by Martin Heidegger’s concept of Dasein in Being and Time. Through this sculpture, I seek to remind the audience of the fragility and significance of life, and to invite reflection on what it means to exist.

To create the work, I first made a silicone mold from the found stone, then cast it in wax and inserted a wick. As the wax melted through the wick, it transformed unpredictably, forming its own organic shape. I then created a mold from this melted form, used the ludo technique to divide it into three parts, and cast each piece in bronze. The final sculpture was assembled through welding, then finished with patina and polished to reveal its subtle textures.

19 x 16 x 11.5 cm, 2.2 kg

Bronze sculpture, 2025

FLOW

Flow is a series of prints I created using the shapes derived from my Remains artwork. I used zinc fragments and their outlines to explore a continuous process of transformation — how these forms shift, overlap, and cut through one another. The work reveals how the interaction between shapes alters the surface of the paper, creating a sense of three-dimensional space within a flat medium.

This series reflects the constant changes and unpredictability of life. It embraces intuition and chance, expressing the idea that life, much like a dance, should not be taken too seriously — we simply move with the flow, embrace the accidents, and find joy in transformation.

I used laser cutting to transfer the zinc fragment shapes onto Japanese paper, combined with chine-collé and embossing techniques. In some works, the laser even cuts through the paper, creating unexpected textures and forms that enhance the sense of movement and spontaneity.

47.5 x 55.5 cm

Relief color embossing, 2025

47.5 x 55.5 cm

Relief color embossing, 2025

47.5 x 55.5 cm

Relief color embossing, 2025

47.5 x 55.5 cm

Relief color embossing, 2025

REMAINS

Remains is the final stage of the Primo series, created from dissolved zinc plates. The fragments formed through organic processes, each taking on a unique shape. They remind me of archaeological remains—objects uncovered from the earth that allow us to trace history and recognize the evidence of life and existence. Through them, we come to understand the world and its continuous transformation.

I preserved these zinc fragments and used their shapes to create new works by laser-cutting them into paper. Some of these paper forms are supported by small legs, allowing them to stand upright—lifting them from the surface to make them more visible and significant. This gesture invites us to focus on what is often overlooked, reminding us of the quiet power of nature and the importance of what lies beneath our feet.

Various size

12 x 8.5 - 4 x 3 cm

Zinc and paper, 2025

Space

Space is a film created using 3D scanning technology to capture part of my bronze sculpture Hagstone. By twisting and rotating the scanned image, I transform the object into a moving digital form. Through this process, I aim to explore the limitations of human knowledge and perception — how an object can possess its own power, movement, and energy that guide us into another dimension of seeing.

I chose to represent the image as a point cloud to highlight how technology continuously reshapes our understanding of the world. The fragmented, ethereal quality of the point cloud evokes both the expansion of human knowledge and the growing mystery of our technological future.

2560 x 1440 p, 7 : 32 mins

video, 2025

TRANSIENCE

Transience is a series of wax sculptures, each with a slightly different form, reflecting the fleeting moments of life and the continuous rhythm of change. The work captures the essence of existence — its unpredictability and transformation.

To create each piece, I poured melted wax into the same silicone mould used in my Hagstone series. Before the wax fully set, I opened the mould and immersed it in cold water to preserve its fluid, unfinished shape. Each sculpture emerges uniquely, shaped by the varying pressure and timing of the mould’s release — a process that remains spontaneous, organic, and guided by chance.