Artistic Statement : Post-Classificatory Biomorphism
My work is rooted in a post-classificatory biomorphism.
I create plastic organisms that do not belong to any identifiable category. The boundaries between animal and plant dissolve, rendering classification irrelevant.
My forms do not represent the living; they reenact its logic.
Parasitism, symbiosis, and hybridization develop as principles of balance. Each element depends on another, grafts onto it, extends it. Nothing is isolated; everything interpenetrates.
Through successive superimpositions of material, I construct relief surfaces in which form appears to grow rather than to be manufactured. Tufted wool allows me to explore density, proliferation, and evolution. Volumes emerge, contaminate one another, and transform.
The work becomes an evolving system:
an autonomous organism in which life extends life.
This practice invites a suspension of the need to identify.
When faced with these indeterminate forms, the gaze accepts not understanding immediately. It contemplates, explores, lingers. Wonder arises within this zone of ambiguity, where classification loses its authority.
Some works develop floral or marine structures in which central forms contain other forms in the process of becoming — nests, excrescences, internal germinations — reinforcing the idea of a living system that regenerates from within.
Sensory Experience
Beyond the visual, matter engages the body.
Wool and tufted fibers are not only seen; they are meant to be touched. The works offer surfaces that are sometimes rough, sometimes unexpectedly soft. This alternation fully participates in the experience.
In nature, vision is followed by gesture.
At times we perceive a texture as soft and instinctively extend a hand to verify it. This instinctive movement interests me. It reveals a primitive curiosity, a direct relationship to the living.
The textile medium enables this continuity between gaze and contact.
It extends the experience beyond distant contemplation. The surface becomes skin. Relief calls to the hand. Visual perception transforms into sensation.
This tactile dimension reinforces the sought-after sense of wonder:
the work is not limited to an image; it becomes material presence. It engages proximity, a silent interaction.
Thus, the post-classificatory biomorphism I develop is not only morphological. It is also sensory. Matter participates in the creation of a possible living form — one that is not merely observed, but experienced.
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