Using morphing and mutation tactics, my sculptures are not pretending to be a particular innovative aesthetic. It looks much more at the overall interplay between the initial idea/sketch and the used wood or material. In its abundance making, a procedural experimentation is the origin of the unpredictable forms. As such, experimentation in sculpture has nothing to do with neither composition nor style. In whichever creation process, it has to do with no‐finality, with the perpetual path to another form; it provokes what comes after, what appears, and what will be seen. It can spontaneously absorb additions, subtractions, and technical modifications, without disturbing its essential order.
In the combinatorics units and assembled modules, each sculpture variation can represent multiple developments processes that generate its design objectives. Many tactics during the sculpting process fulfill the complementarity; some are especially apt to describe the character behind the piece: similar yet different. The used sculpting practices can be characterized in folding, form‐finding, deconstructed geometries, free‐form and hybrids.
In my practice, the imaginary assumptions of both geometrical and polymorphic typologies assumed that a direct correlation exists between abstract forms (intellectual) and figurative forms (sensate).