I am endlessly fascinated by the contradictory nature of humans as an embodiment of both creative and destructive force, and my work revolves around that.

Firmness and instability, fragility and rigidity, cohesion and chaos, and the endless interplay between these opposites are at once the source of my curiosity and the object of my inquiry. My work is the locus where the sense of pain and pleasure, sorrow and happiness come together and invite the viewers to connect with their core sensitivities and essential experiences.

I want to convey the sense of the momentum when the natural balance we are based on is severely disturbed by the absence of a part, a thin line, a tiny point, or a slight movement, causing disruption and perversion. Imagine the moment when a skillful ropewalker suddenly loses the balance on the tightrope!

The media I use express this tension most efficiently. I predominantly work with lead and beeswax. While both are vulnerable, the former is poisonous, dangerous and blocks the sun’s rays; the latter—delicate and fine—has a profound curing effect that unblocks light.

Differently shaped big and small pieces of lead are like life episodes – fragmented and scrappy. Barely patched with each other, they leave the impression that their disjunction might happen at any time. These pieces are like our wounds, tense relations, traumas, and joys that we have lived through and carefully sewn together. The beeswax, like a fingerprint, embodies the endlessness of all this.

With stiff lead and melting beeswax, I register the being as it is— contradictory and strange yet ceaselessly exciting.

With all this, I perceive my work and the process of sculpturing primarily as an object that requires mastery and application of highest aesthetic delicacy.