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Sculptural transformation


My question was if transformation is  possible in the traditional medium of sculpture. 

Also I try to challenge Aristotles, categorical syllogism.

I wanted to develop an object that is at the same time A and B. Today we are left with a relative concept of truth. In this context the laws of identity and contradiction can be challenged in sculpture. Is it possible that one thing is at the same time another? 

Our ideals, dreams and goals are defined by our perception of reality and our surroundings. Everyone sees their own reality, shaped by a personal filter. I am facinated by the very moment of manipulation, since our self-perception as well as our ideals are primarily controlled by images. The reflection of perception is therefore particularly important in order to build a personal utopia. Everything that interests and touches me becomes  object of my sculptures: people and their surroundings, current issues and philosophical concepts, everyday life and visually stimulating things.

Like an essay, I examine the illustrated objects and offer the beholder specific aspects of the image’s content, but without taking away the final interpretation in advance.


 ‘Medusa Touch’ and other sculptures of this series led to insights on combining 2D planes to enable sculptural transformation. These objects were named Multiperspective Sculptures by Prof. Kim Namsee (Ewa University, Seoul), referencing postmodernist positions about relativity of truth and reality, as well as current discourse about the nature of sculpture. Becoming, in Asian philosophy and for Deleuze and Guattari, is a process of change or movement within an assemblage. It is an alternative to the conventional image of subjectivity as coherent, enduring and individualized. These works continue and expand the field of traditional sculpture, deconstructing the classical idea of sculpture as a predictable whole.


As metamorphosis happens through change of the viewer’s position, in this exhibition particularly, I focus on the well-known “collateral” or “downsides” of dominant political and economic views. This referenced 2D montage as pioneered by John Heartfield and developed by contemporaries such as Hans Haacke. I used this strategy to reveal hidden meanings in topical or familiar motifs, in order to challenge established perceptions and interpretations.


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