Confrontational and maximalist, this practice stages a collapse between the sublime and abject, where oversized organs, flayed skins, and mythic beasts intersect with industrial detritus and digital mediation to form a baroque techno-spectacle. Sculptural and video-based installations are orchestrated through a logic of overload, rejecting minimalist clarity in favour of a densely symbolic, often chaotic dramaturgy. Objects like animatronic innards or paraded giraffe skeletons are not narrative props but carriers of affect, stitched into visceral environments that scramble binaries between human and nonhuman, sacred and profane, grotesque and sublime. The artist's own body and voice, often looped, distorted or echoed, act as a ghost presence threading the works into a personal yet ungraspable mythology.
