ONE MASK. ONE DAY.
SAMPLES OF THE EVERYDAY
facing things
A body of work in progress since 2020, primarily using modeling clay and ceramics, approx. 27 × 7 × 17 cm.
Each day, a mask emerges from the same simple underlying structure. Within a limited time frame, material, surface, and a minimal set of decisions introduce variation. The daily rhythm limits control and sharpens attention to the act of making, allowing difference to arise through repetition rather than intention.
Seen together, the masks reveal difference without hierarchy. No single form claims prominence; meaning unfolds through relational presence. The serial constellation resists values of exception, perfection, or permanence, instead foregrounding continuity, accumulation, and temporal proximity.
This serial logic is extended and displaced through a parallel web-based practice. Each day, a photograph of the freshly made sculpture is digitally collaged into found image data sourced from the internet. These images—pulled from search results, stock archives, social media fragments, instructional diagrams, advertisements, or anonymous visual debris—form unstable, contextually overloaded grounds. Into these already saturated visual fields, the sculptural object is inserted.
The web collages do not document the sculptures; they redistribute them. Detached from their physical scale, weight, and material resistance, the masks circulate as images among other images, subject to the same economies of attention, distraction, and algorithmic sorting. In this space, the singular object loses its autonomy and becomes one element within a larger, indifferent visual flow.
Through this process, authorship and presence are subtly destabilized. The sculpture—slow, tactile, present—is folded into a realm defined by speed, endless reproduction, and non-hierarchical visibility. The collages expose a tension between embodied making and digital circulation: between an object shaped by hands and time, and an image shaped by compression, resolution, and context collapse.
At the same time, the web collages function as a form of temporal anchoring. Each image marks a specific day, fixing the sculpture within a broader visual present that is constantly updating and erasing itself. The internet becomes both archive and anti-archive: a space where images persist indefinitely while their meaning remains unstable, contingent, and easily displaced.
Together, the sculptural series and the web collages investigate how repetition operates across material and immaterial realms. They ask how attention is produced and sustained; how relevance is constructed through recurrence rather than distinction; and how identity—of an object, an image, or a self—emerges not through singular expression, but through continuous reappearance within shifting contexts.
The work thus frames self-presence not as a coherent or isolated statement, but as something distributed: across days, across objects, across images, and across systems of circulation. In this shared perceptual field, the ordinary, repeated, and re-contextualized becomes a site of meaning.
