The plastic show

The image hardens, the text becomes material, and the chosen scene begins to reconstruct itself from the mass. In modeling/reconstructing, I not only reinterpret the facts but also distort them. My method is simple: I archive my life as if it were an ongoing criminal case, making it clear that every identity is an open judgment, a provisional truth in constant dispute.

What is concealed in these pieces is that they do not present themselves as an evident introspective act. I do not seek to speak about myself confessionally or construct an explicit personal narrative. Rather, my work allows me to externalize experiences without directly exposing them, displacing them to a territory where distance and simulation make them more manageable. In this sense, there is a camouflage operation: what could be an exercise in self-exploration is presented as an analysis of representation, of the object, of the aesthetics of the simulacrum. I allow myself to observe my own life as a staged event, where reality no longer matters as long as what is narrated becomes consumable, iconic, and self-referential.

Each ceramic piece I create is a trace of something that once existed.