2019
Medium: paper, reed, uv coating
Dimension variable
Using traditional kite and lantern-making techniques, I construct suspended forms that evoke transitional states in nature. These cocoon-like structures suggest phases of emergence, adaptation, and renewal. Rather than representing transformation symbolically, the works are built to embody it: fragile enclosures poised between protection and exposure, containment and release.
The process begins with a reed skeleton, a material that carries its own internal tension and memory. Paper is then applied in layered fragments, tightened and sealed, forming translucent membranes stretched across shifting geometries. Despite careful construction, the reeds gradually relax and deform, asserting their own temperament. Perfect symmetry gives way to subtle eccentricity. Each form becomes an ecology of forces—tension, gravity, air, rotation—rather than a fixed object.
Suspended from slow-turning motors, the sculptures move almost imperceptibly. Rotation animates their surfaces, casting shifting shadows that suggest planetary systems or underwater currents. Movement here is not spectacle, but condition. The works exist within continual negotiation between structure and drift, stability and change.
Traditional craft techniques provide the structural language of the work, but not its limit. The lineage of kite and lantern construction offers a way of thinking about lightness, tensile strength, and permeability. Within these suspended forms, cultural memory and material intelligence intersect, revealing transformation as an ongoing process rather than a completed state.