Mediated by a raw convergence of violence, artificiality and spectacle, this practice pushes sculptural language into zones where the emotional and the mechanical collide, operating through a symbolic excess that fuses fetishism, dark humor and systems of control, the works present altered bodies, distorted masks and animatronic structures repeating gestures with unsettling precision, generating a sense of visceral estrangement, in robotic figures or wall-mounted assemblages, the gesture becomes mechanical but never neutral—insistent, charged with affective tension, industrial materials like chains, synthetic foam and glossy polymers evoke restraint, damage or servitude, shaping an aesthetic of friction, harm and residue, visual references to popular culture—comics, pornography, subcultural codes—are not illustrated but exposed as mechanisms of seduction and distortion, creating fictional bodies that function as fractured mirrors of collective projection, these works do not tell linear stories, but rather embody affective loops, visual iterations charged with symbolic aggression, in this sense, the exhibition space becomes a stage of unredeemed theatricality, where the viewer’s gaze is caught and forced into a negotiation with figures that offer no comfort or clarity, only confrontation.
