I was always fascinated by the arrogant survival skills of objects. They enclose time, history and human lives into themselves.

A used pair of Egyptian slippers makes the continuity of culture more perceptible to me than the sculptured images of the pharaohs. The incompleteness of reality affects me more than the created vision of it. The part that carries the “whole” excites me more than the “whole” itself.

People from the past smile at us from old photographs. Nobody remembers them anymore. A meaningless object, a picture – an impression of an instant in their lives – is the only heartbreaking evidence of their existence. A man dies, becomes nothing, while a pair of spectacles left on the table, a lighter on a shelf, persist as silent guards of intimate human moments.

Indifferent survivors.

In my work I turn living human bodies into “objects”, a future document of their present lives. But these objects are still different from the mortal remains in peat, ice or preservatives. Besides keeping the personal, physical dimensions, I form them into sculptures to express human feelings of universal validity. I make them from glass, a material that is fragile, just like man, and strong as mankind.