Visual Research

Sculptural

Introduction

Welcome to the sculptural dimension of my visual research. In this section, I share the evolution of my ideas and progress in art installations. Most of my sculptural concepts begin with a thought and a sketch. What sets them apart from my paintings is my exploration of a wider range of mediums, such as screen printing, photography, drawing, and sculpture. While I consider both my paintings and sculptures experimental, the key difference lies in the dimensionality of the work. In my sculptural pieces, multiple elements come together to tell a more intricate story.

I’ve titled this page "sculptural" rather than "sculptures" because I want to emphasize the process rather than the final product. When you read this, feel free to interpret "sculptural" in a broader sense, beyond just working with materials like clay or wood. While it may resemble sculpture, it isn’t necessarily one. Instead, it leans more toward the realm of art installations. So why not call this page "art installations"? I’ve chosen not to because I want to showcase this as a process—one where I add and subtract elements to shape the story I want to tell or the feeling I wish to evoke. "Sculptural" feels more fitting for this approach, as it aligns with how I approach the work, much like I would a sculpture.

Concept and story

When working on a sculptural idea, I begin with a theme, which often becomes the title of the work. Unlike my paintings, where I search internally for inspiration, my sculptural work starts from an external point of view. I seek out experiences happening in society, deliberately looking for external influences that can shape the piece. While my paintings are driven by more personal, emotional experiences, my sculptural work arises from a more cognitive process. The observations that influence my sculptures are primarily social, focusing on the world around us.

Screen prints, layers and photography

In the past, I experimented extensively with the screen printing process, which required me to think deeply about layering and the way I build an artwork. In painting, layers develop in real time, allowing for spontaneous decisions. However, creating a photographic print demands a more deliberate mental visualization of the final piece before execution. While there are still accidents and discoveries in printing, experimentation requires clear demarcations—such as the screen, colors, and layers. I explored this process for several years, refining my understanding of layering.

The concept of layering fascinates me. Layers can be transparent, they can interact with and influence each other, and they form a fundamental part of visual art. But layering extends beyond the visual—it exists in storytelling, in abstract thought, and in the way we perceive complex ideas. For me, layering is a tool for understanding holistic concepts more easily while also leaving space for interpretation and imagination. I want to approach my work with a layering mindset, continuously adding and subtracting elements to create a visualization of the mental spaces that exist within our society.

Alongside my experiments with screen printing, I have also spent the past few years exploring photography. Just learning the basics was a challenge, and I’m still learning. For me, photography is a foundational element of my artistic practice—an accessible tool that most of us have at our disposal. I use it to capture images that can serve as inspiration for themes in my sculptural work.

Photography pushes me to truly observe and engage with my surroundings rather than passively consuming images. It helps me safeguard my authenticity by ensuring that my perspective remains personal and intentional. I sometimes feel this approach is a bit egocentric, but I also see it as a valuable way to create socially engaged artwork, using my own lens as a starting point for broader conversations.

Purpose

My goal is to create visuals that foster dialogue and build connections, acting as bridges between people. Unlike my paintings, which are visual narratives of mental spaces with a more internal origin, my sculptural work aims to offer social commentary. I want to create spaces that are easier for the audience to connect with, drawing from the experiences of daily life. The purpose of this work is to invite the viewer to engage with the thought process behind it. I aim to visualize the relationships we share with each other and with our environment. While it's true that my paintings can also be influenced by my surroundings, they begin with a personal, internal feeling. In contrast, my sculptural work is grounded in the connectivity of society. This approach, I believe, requires a more fluid and experimental methodology.