Conceived as an alter ego, SHEMAN operates through displacement rather than representation. The body that animates it is never fully visible; instead, authorship dissolves into a hybrid silhouette, producing what might be termed distributedSubjectivity alongside urbanEmbodiment. This is sculpture as delegated action: a form that exists only through being carried, negotiated, and risked within real circulation systems. Its activation in the street converts infrastructure into dramaturgy, foregrounding friction, fatigue, and attention as sculptural materials. The city does not host the work; it resists it. SHEMAN Trans-Humanoid emerges not as an object but as an operative condition, a vertical anomaly that infiltrates the city with deliberate awkwardness. Its exaggerated limb, elongated and unstable, rejects anthropomorphic coherence in favour of a prosthetic surplus that dislocates the human scale. Here, postMonumentality collides with corporealDelegation: the work abandons the fixity of sculptural sovereignty and redistributes agency across carrier, street, and passerby. The sculpture’s extreme lightness—both physical and symbolic—functions as a counterweight to the historical burden of statuary, replacing permanence with exposure, and endurance with vulnerability.
