This object does not function as an abstract form, but directly evokes the association of an intimate bodily fragment. The circular opening and the skin-like color create an immediate physical recognition. The image is direct and does not require interpretation to be perceived.

Due to its small scale, the object is concentrated. It draws the gaze toward a zone that is normally not visible and creates a proximity that is difficult to avoid.

The red area breaks the surface and functions as a visible damage. The gold does not conceal this, but marks it and intensifies the attention toward it.

The work exists between object, body, and symptom. It is recognizable, but cannot be fully fixed within a single category. This combination of direct recognition and indeterminacy creates tension and holds the gaze.

The strength of the work lies in its directness and concentration. It shows vulnerability without softening or hiding it. The damage remains present and is not resolved.

The object is small in scale, but has a strong visual impact. It operates without spectacle or enlargement.

This is not a representation of vulnerability.
This is vulnerability in form.

Post-Colonial Gold — Wearable Sculpture

This series consists of autonomous objects.

In Post-Colonial Gold, gold is no longer presented as a symbol of wealth, power, or desire. Its function shifts. It does not define value, but marks what is already present.

The works are direct and materially grounded. Their surfaces remain open: irregular, layered, and unresolved. Nothing is polished or corrected.

Each object is small in scale, but concentrated in effect. The forms are reduced to what is essential. They are recognizable, yet not fully fixed. This creates a tension between what is seen and what cannot be precisely defined.

Gold does not conceal. It marks. It directs attention.

Handmade. Non-reproducible. Unique.
Not a display of luxury, but a condition of singularity.