Most of my sculptures are undeniably abstract, although many play with figurative moments. These are not mimetic entities, they’re independent. The little busts of blind animals that I modeled years ago made that instantly obvious to me. I thought they were too figurative and easy to wield, and when I wanted to construct larger versions of them, I abruptly reduced them to mere volume and ended up with a simple barrel shape. I enjoyed using aberrations and kinks to animate these kinds of simple, reduced bodies. Later, when I started making clouds and bulk forms, I worked freely to develop my sculptures using the possibilities offered by the material and the space. These kinds of distensions are amorphous and trigger projections; the figure is only created in the imagination.
Since then, my sculptural shapes have often been inspired by limits, simple settings, and aggregates in action. During the process, I shape and manipulate them some more, so that they achieve the strange presence I mentioned before.
I try to take advantage of the extensive selection that recent art history has made available to sculpture. My formal vocabulary is an amalgam of modernism and minimalism, formal studies and personal attitudes. My stance is eclectic. However, I do try to utilize these things in a counter-intuitive way, in opposition to previous experience—hence the material caprice and disparate fractures.