I cast objects in sticky wet tissue paper and when the paper dries, what I peel off carries the form and marks of the original, only it is colourless and weightless. This technique enables me to capture, almost literally in the sense of “stealing”, all the details, even the most minute ones, of the original object without damaging it. The formal and material qualities of the tissue paper also allow me to deconstruct, reconstruct, transform the original object/space into something else. 

My sculptures are like a trace, a vaporous evocation of the original. They address presence through thinness.  Pale and sometimes incomplete or opened up, they are like silent citation marks that reiterate the objects around us.  They make reference to real objects and places that exist or have existed somewhere else or in a different time, yet consciously depart from their real-world substance. They could either be an apparition or in the process of vanishing, like a lasting impression, a fading memory or a lingering smell.

My work deals with the ideas of liminality, impermanence, presence/absence. It explores our sense of perception and the conflict between the physical and the intangible. My tissue paper sculptures strive to achieve the impossible, to inhabit the space between spaces, the threshold between inside and outside, presence and absence, visible and invisible, material and immaterial, reality and memory, reality and dream.

I am often interested by the contrast between the ephemeral qualities of the tissue paper and the functionality or the monumentality of the objects I choose to cast.

I also use photography to capture the frailty of my sculptures and larger installations, the final piece thus being ‘the trace of the trace’.