My work navigates the intersection of sculpture and drawing, creating intricate scenes and sculptural structures that trace events in a state of flux and transformation. Sculpture embodies a form of existence that is static, frozen, and indifferent—a timeless artistic object that does not change. These qualities are rooted not only in the object's permanence but also in its inherent inanimacy. By representing the living through an inanimate form, sculpture establishes an equation in which the very essence of life becomes the unknown.

In my early works, my sculptural motivation stemmed from a desire to generate movement within systems of inanimate objects. I find that this attenpt is rooted in the desire to attribute human qualities to the object of art—such as time, movement, and relationships—whereas traditionally, art aspired to transcendental values. I have come to see that sculpture, as a medium, has the inherent ability to embody these transcendental qualities. In my recent works, I create hollow-bodied forms made of glass, plaster, and ceramics—volumes without a skeleton. Each sculpture contains multiple figures and images interwoven into one unified, enclosed object, disrupting the natural hierarchy of the moment it represents.

This characteristic of the sculpture—the symbiosis between different entities—creates a space where notions of time and control are reversed and/or disrupted. In such a space, the hierarchy between bodies is destabilized, raising questions about the relationship between the living body, the inanimate body, and the dead body. I am drawn to the aesthetics and formal aspects of these structures, as well as their ethical implications.