PROCESS-BASED OBJECTS

This body of work engages material not as a medium to be shaped, but as a collaborator—inviting fire, water, air, and time to participate in processes of transformation. Each object is the result of a durational dialogue with the elements, where impermanence, decay, and renewal become generative forces. These works are not representations; they are physical records of change.

Rather than imposing fixed form, these objects allow materials to evolve through natural and alchemical interaction. Fire, water, air, metal, and time act as co-creators—agents of erosion, oxidation, brilliance, and repair. Charred wood, preserved with silver nitrate, becomes both a mirror and a void: a reflective surface that embodies kū (空), the Japanese elemental principle of emptiness. Anodized aluminum undergoes electrochemical transformation as layers of corundum (sapphire) are grown on its surface—the hardest coating that can be formed. Into this porous crystalline layer, I hand-dye pigments in water, creating watercolor-like gradients of iridescent color that shift with light and perspective.

Iron-coated forms are rusted through gradual exposure to water, allowing oxidation to record time. Woven pure silver fiber is treated with patina, transforming into a rainbow surface that refracts every color. Charred wood is mended with the traditional kintsugi method, using 24k gold to embrace and reveal rupture. Glass, fractured with millions of microfissures, becomes a vessel for atmospheric imagery—clouds suspended within its fragile geometry.

These objects emerge through material thinking—a practice of surrender and attentiveness, where transformation is not resisted but made visible.