Socioplastics is an expanded organism moving through sculpture, architecture, video, choreography, writing, and spatial action. It infiltrates situations and materials through friction, opening thresholds where cultural, spatial, and political boundaries soften. Its logic is serial and expansive: gestures that appear unrelated converge structurally, activating conditions rather than delivering closed forms. Each work—architectural, performative, textual or material—becomes a site where meaning arises indirectly, through shifts in rhythm, scale, and atmospheric tension. Socioplastics carries an ethical position. It decolonizes the fields it touches not through explicit discourse but by dismantling inherited hierarchies: between objects and bodies, human and nonhuman agents, visibility and residue. The practice engages matter that insists, resists, learns, remembers. The artist operates as a mediator among multiple forces—technological, vegetal, social, affective—allowing trans bodies, racialized bodies, hybrid anatomies, failing machines, and becoming-objects to coexist without being reduced to representation. These are not identities illustrated but ecosystems negotiating presence. Although the practice predates the social-media era, it speaks to the contemporary from a wider temporal horizon: one in which art functions as a living archive, hydrating itself each time it enters a new context. Socioplastics is not a style nor a method—and therefore cannot be transferred. It is a relational architecture that folds and unfolds with site, climate, body, and memory. Ultimately, it proposes a radical mode of attention: to perceive how matter acts, how space thinks, and how art opens terrains where fragility and agency coexist without hierarchy.
