Pig Eater (something weird to think about)
Fabricated steel, stainless steel, 3D scan and 3D print based bronze cast, 59 x 24 x 16 inches, 2024
A futuristic composition of strange encounters in a faraway land filled with displaced and re-imagined rhythms and shapes.
Based on a 3D design and fabricated during a summer residency at Glenn Zweygardt Sculpture Studio in Alfred Station, New York, USA. The sculpture is on view in the Alfred Village Sculpture Park, New York, USA.
You Brought Something Into The World That Does Not Belong Here
Light sculpture with mild steel, aluminum casts from 3D print, LEDs, found objects, dimensions approximately 8 x 8 x 4 feet, 2023
MFA Thesis Exhibition, 2023
Robert C. Turner Gallery, Alfred University, NY, USA
This light sculpture serves as the conceptual core of the MFA thesis exhibition You Brought Something Into The World That Does Not Belong Here. Constructed from illuminated geometric frames, the installation evokes the visual language of laboratory containment units, display vitrines, or transport cages—structures designed to isolate, protect, or control what is placed inside them. Suspended within these glowing boundaries are sculptural fragments referencing animal forms, suggesting bodies that have been extracted, replicated, or reassembled by scientific intervention. The cold, turquoise light transforms the gallery floor into a reflective surface, amplifying the sense of sterility and artificiality while casting the work into a space that feels simultaneously technological and ritualistic.
The sculpture reflects on the expanding capabilities of biotechnology, particularly the possibility of animal and human cloning. Rather than presenting a simplified ethical argument, the work opens a series of speculative questions: If a creature is cloned, does it experience pain the same way as the original? Does it possess ownership of its own life? At what point does a biological copy become a social subject—with rights, agency, or even resentment toward its creators? By framing these questions within a minimal yet unsettling visual environment, the piece points to the uneasy intersection of scientific ambition and moral responsibility.
Within the broader exhibition, the work functions as both a metaphor and a warning. The glowing structures resemble portals, cages, or experimental chambers, symbolizing a world in which technological capability often advances faster than philosophical or ethical reflection. The exhibition as a whole navigates absurd scientific possibilities, irrational scenarios, and logical contradictions that characterize contemporary reality—revealing a landscape shaped by ambition, shortsighted progress, and a peculiar absence of empathy. In this context, the sculpture suggests that the true anomaly may not be the cloned organism itself, but the human systems that produce it.
The sculpture reflects on the expanding capabilities of biotechnology, particularly the possibility of animal and human cloning. Rather than presenting a simplified ethical argument, the work opens a series of speculative questions: If a creature is cloned, does it experience pain the same way as the original? Does it possess ownership of its own life? At what point does a biological copy become a social subject—with rights, agency, or even resentment toward its creators? By framing these questions within a minimal yet unsettling visual environment, the piece points to the uneasy intersection of scientific ambition and moral responsibility.
Within the broader exhibition, the work functions as both a metaphor and a warning. The glowing structures resemble portals, cages, or experimental chambers, symbolizing a world in which technological capability often advances faster than philosophical or ethical reflection. The exhibition as a whole navigates absurd scientific possibilities, irrational scenarios, and logical contradictions that characterize contemporary reality—revealing a landscape shaped by ambition, shortsighted progress, and a peculiar absence of empathy. In this context, the sculpture suggests that the true anomaly may not be the cloned organism itself, but the human systems that produce it.
(Perpetual) Death of Lucretia
Kinetic sculpture with mild steel, electronics & Arduino, inflatables, spray paint, dimensions approximately 8 x 8 x 4 feet, 2023
From MFA 2023 Thesis Exhibition titled You Brought Something Into The World That Does Not Belong Here at Robert C. Turner Gallery, Alfred University, NY, USA.
(Perpetual) Death of Lucretia is a kinetic sculpture centered on a mechanical arm equipped with an electric linear actuator that pins an inflatable daisy to the gallery floor. The daisy, constructed from glossy opaque plastic, consists of six white petals surrounding a yellow center that is slightly larger than the actuator’s circular pressure plate. A system of exposed wiring connects the mechanism to a small circuit board that displays illuminated countdown digits. As the digits alternate between pushing and pulling states, the actuator extends and retracts, rhythmically pressing into the flower’s center. This motion forces the inflatable structure to contract and expand, repeatedly deforming the delicate plastic body. The cycle continues autonomously and indefinitely, regardless of the viewer’s presence, evoking the steady inflation and deflation of lungs supplying oxygen necessary to sustain life.
The title references the story of Lucretia, a Roman noblewoman whose rape and subsequent suicide became a powerful moral narrative in Western cultural history. According to the legend, Lucretia chose death rather than live with the shame of the injustice inflicted upon her, concluding that certain violations cannot be reconciled. By invoking this story, the sculpture frames the mechanical action as an allegorical gesture—one that echoes themes of violence, shame, and irreversible consequence while stripping them of a direct human body.
At the same time, the work reflects on the growing dominance of technology and programmed systems in contemporary life. The illuminated countdown, the strict mechanical rhythm, and the absence of human intervention evoke a world increasingly governed by quantification, calculation, and algorithmic logic—one that leaves diminishing space for chance, ambiguity, or mystery. In this environment, the machine appears to control the very supply of breath, quietly determining life and death. Positioned as a witness to the scene, the viewer becomes implicated in its unfolding, recalling the uneasy voyeurism embedded in Étant donnés. The act suggested by the sculpture—whether interpreted as violation, punishment, or self-destruction—offers no catharsis. Instead, it repeats endlessly, forming a mechanical purgatory reminiscent of the suspended souls in Divine Comedy, trapped in a perpetual state of longing for redemption that never arrives.
(Perpetual) Death of Lucretia is a kinetic sculpture centered on a mechanical arm equipped with an electric linear actuator that pins an inflatable daisy to the gallery floor. The daisy, constructed from glossy opaque plastic, consists of six white petals surrounding a yellow center that is slightly larger than the actuator’s circular pressure plate. A system of exposed wiring connects the mechanism to a small circuit board that displays illuminated countdown digits. As the digits alternate between pushing and pulling states, the actuator extends and retracts, rhythmically pressing into the flower’s center. This motion forces the inflatable structure to contract and expand, repeatedly deforming the delicate plastic body. The cycle continues autonomously and indefinitely, regardless of the viewer’s presence, evoking the steady inflation and deflation of lungs supplying oxygen necessary to sustain life.
The title references the story of Lucretia, a Roman noblewoman whose rape and subsequent suicide became a powerful moral narrative in Western cultural history. According to the legend, Lucretia chose death rather than live with the shame of the injustice inflicted upon her, concluding that certain violations cannot be reconciled. By invoking this story, the sculpture frames the mechanical action as an allegorical gesture—one that echoes themes of violence, shame, and irreversible consequence while stripping them of a direct human body.
At the same time, the work reflects on the growing dominance of technology and programmed systems in contemporary life. The illuminated countdown, the strict mechanical rhythm, and the absence of human intervention evoke a world increasingly governed by quantification, calculation, and algorithmic logic—one that leaves diminishing space for chance, ambiguity, or mystery. In this environment, the machine appears to control the very supply of breath, quietly determining life and death. Positioned as a witness to the scene, the viewer becomes implicated in its unfolding, recalling the uneasy voyeurism embedded in Étant donnés. The act suggested by the sculpture—whether interpreted as violation, punishment, or self-destruction—offers no catharsis. Instead, it repeats endlessly, forming a mechanical purgatory reminiscent of the suspended souls in Divine Comedy, trapped in a perpetual state of longing for redemption that never arrives.
Hedonic Cupids
Kinetic scultpure with 3D prints, electronics & Arduino, feathers, resin, spray paint, silicone rubber, binoculars, dimensions approximately 4 x 6 x 2 feet, 2023
From MFA 2023 Thesis Exhibition titled You Brought Something Into The World That Does Not Belong Here at Robert C. Turner Gallery, Alfred University, NY, USA. The exhibition alludes to ridiculous scientific advances, irrational situations, logical inconsistencies and an overall shortsighted and soul-less absurdity in the labyrinth of the present world.
Intertwined
Alfred University Alumni Award, patinated bronze, edition of 15, 18 x 6 x 6 cm, 2022
Joint project of Alfred University’s Advancement Office, the Alumni Council, and the School of Art and Design (SOAD). The commissioned design will be used for the next five annual Alumni Council award programs to honor influential Alfred University Alumni.
Eye of the Future
Public art permanent sculpture with stainless steel, automotive paint, concrete, 11 x 2.2 x 1 meters, 2019/2020
Commissioned under the Per Cent for Art Scheme and completed in 2020, the sculpture is located at St. Columba’s Boys’ National School in Douglas, Cork, Ireland.
Using computer 3D software and anamorphism as a perspective distortion, this sculpture is a subtle metaphor on knowledge, rational thinking, power of a human being and St. Columba as the patron of this school. Consisting of five individual standalone shapes and a concrete platform, when not aligned with the vantage point designated in order for the viewer to reconstruct the intended image, the shapes break down into constituent parts forming a visual puzzle.
Cutouts on the largest (green) piece of the sculpture hide a message in Morse code designed to be deciphered by the students.
Using computer 3D software and anamorphism as a perspective distortion, this sculpture is a subtle metaphor on knowledge, rational thinking, power of a human being and St. Columba as the patron of this school. Consisting of five individual standalone shapes and a concrete platform, when not aligned with the vantage point designated in order for the viewer to reconstruct the intended image, the shapes break down into constituent parts forming a visual puzzle.
Cutouts on the largest (green) piece of the sculpture hide a message in Morse code designed to be deciphered by the students.
