I always find myself drawn back towards the exploration of wood in the manufacture of large-scale sculptures and alternative objects. I find there a transcendent quality that keeps driving me back to explore it repeatedly. Woodworking feels so natural and innate that I do not see any restriction to what I can do with it: when I think of an idea, there is always a way I can make it happen. As much as my sculptures are very technical, they always end up looking very different from the original drawings I intended. I fully embrace this shift since it expresses to what extent my sculptures become an extension of myself, both physically and conceptually. They are not fixed subjects.
Once I understand the design of an object and its formalization process, I can create new possibilities of representation and materialization.
More importantly, I can produce new prototypes where the relationship form-function is reworked. What informs my work is our relationship to objects and how the process of altering their essence – composition, scale, design – changes the way they are experienced and understood. I am driven by the possibility of generating transcendental realities with materiality.