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Artist Statement: Action’s Echo

This body of work has evolved over several years, shaped by my experiences working, participating in residencies, or residing in diverse locales—Berlin, Taiwan, New York, Paris, Beijing, among others. Each environment transformed into a site of material and conceptual emergence, where the boundaries of artistic action and the interplay between space, material, light, and documentation were examined. My studio is both a fixed location and a dynamic working condition, materializing anew in every context I engage with.

My practice engages with the tension between permanence and transience, between sculptural gestures and mutable materiality, and between the sculptural object and its photographic manifestation. I do not seek to interpret my works but to articulate my intention—to investigate the intersections of material, space, and image, while posing questions about processes of formation, disintegration, and visual mediation.

Vilém Flusser described photography as a mechanism that reorganizes our perception of the world, an autonomous system shaping the internal logic of the image. In this light, I perceive photography as an operative space where the interrelations between the material and the visual medium are constructed and destabilized. Photography is not a static record but an environment where suspension, deconstruction, and reassembly of sculptural reality are possible.

Maurice Merleau-Ponty offers a phenomenological perspective on the image, wherein the body, even when not overtly present, is inscribed within materiality and compositional arrangements. I explore how photography—which traditionally substitutes the real with its representation—can become a field where presence and absence coexist in constant tension. My sculptural compositions aim to activate a movement of visibility and disappearance, wherein the image is not merely a product of the gaze but also an elusive, layered, and intentionally incoherent object.

Boris Groys, particularly in his book *Art Power*, addresses the tension between the art object and its systems of mediation and dissemination. In my works, the photographic image does not negate the sculptural but transforms it into another arena of appearance and transformation. Photography offers a singular, momentary configuration amid a multitude of potential manifestations. In various installations, I allow images to shift throughout the exhibition, undergo reprocessing, or reappear in different contexts. Thus, although photography creates an illusion of fixation, it simultaneously operates as an open field of perpetual change.

The materials I employ are derived from the locales in which I work—ephemeral elements, materials gathered from the immediate environment. I utilize screwdrivers, zip ties, adhesive tapes, and screws to construct sculptural gestures that confront the boundaries of time and transience. My works engage in dialogue with the aesthetics of temporary structures, such as the improvised shelters of Bedouin communities, which combine functional improvisation with formal precision. My interest lies not in replicating these practices but in understanding how material approaches grounded in flexibility and environmental adaptation can reveal new sculptural modes of thought.

While my works do not directly respond to technology, they resonate diffusely with the evolving landscape of photography in recent years. The transition from analog to digital photography, the capacity for visual manipulation, and the emergence of AI-generated imagery are not merely tools but integral components of the material language within which I operate. The images are not fixed; they are subject to processing, blending, and appearing in varied manifestations. They echo physical reality while simultaneously challenging it, opening a space where the image exists within a network of future possibilities.

My practice does not offer definitive conclusions but aspires to generate a constant tension between fixation and change, between materiality and photographic mediation, between visibility and disappearance. Photography becomes a means through which the image attains momentary stability while preserving the potential for transformation. The questions I grapple with are not about permanence or unequivocal meaning but about a dynamic system where images exist in processes of change—between the material and the mediated, between the action undertaken and its shifting visibility, between the photographic present and sculptural transience.