Print on synthetic satin, hypoallergenic silicone, pigment, metal,
leather particles, ash

Performative artifacts or traces of compulsive dance. Something acquired to get away from life by actual living, which is always about pain and power.
The higher the power, the higher the pain. To be in pain is to be in a process, to be in that particular moment of…
To be present and not be able to tear yourself apart from yourself.  It’s what can cultivate immanent surveillance and humiliation (read: formerly 'punishment').

The key topics of the research were: notion of birth in the modern accelerated and heavily militarized world;
the management of faith in conflict situations; and the complexity of physical and psychic pain.

Chosen materials can be separated into two groups: ones that are immanently corporeal such as silicone, and leather;
and others, whose nature functions through a technological intrusion: metal disks, synthetic fabric, and printer ink.

The main material, which is silicone, is a bodily notion of two: psyche and physic. It’s skin.
A protective barrier, but also a frontage. It hides and it shows.
The corrosions or scars on the skin is an in-game navigation markers (a round map, a pop-up notification that the bomb has been planted,
and available weapon selection) from the Counter-Strike game series.
These scars are silent helpers, but also witnesses of military plots and personal strategies of concurring.

The three-part graphic work consists of a mixture between pencil drawings and digital post-touch-ups in Photoshop.
Such a formal alliance between natural and technological helps narrow the hierarchy between eternal youth and decay.
God and a human. Parent and a child. Object and subject. Something tangible and intangible.
And forcefully create a space of coexistence, codependency, correlation.