The objective of my practice is to create a Mythology which describes the landscapes and beings of a human-less world. The totality of this Mythology is a critique to the anthropocentric character of the Western art-world and society.
The lack of humans or references to contemporary social issues from my works is both a deliberation and a normative statement. That is, by removing the human subject from the spotlight, by moving the landscape from the background to the foreground and onto the stage, I wish to bring to the spectator's attention the anthropomorphism and anthropocentrism which lies in the heart of western culture's primal stories.
The act of writing demands for a method that resembles the way in which words refer to concepts. This method is that of casting because molds, by copying certain elements from an object, can endlessly reproduce shapes which refer to said objects and, consequentially, concepts in the world. Further, writing a mythology calls for the use of a primordial visual lexicon and material. The material choice of ceramics and the working method of casting are based on the historicity of the craft, the malleability of clay and its association with the chthonian elements of water and earth.