Across my practice, the figure emerges not as a stable form but as a condition shaped by tension, imbalance, and material pressure. In the early rattan and rubber works, the body is reduced to line and suspension: flexible rods, elastic curves, and woven elements diagram forces rather than anatomy. The object exists provisionally, held together by counterweight and gravity, already refusing monumentality or wholeness.

In the Homo Barro and later black sculptures, this suspended body collapses into mass. Line gives way to density; tension becomes compression. Voids, abrasions, and excess matter articulate a figure burdened by its own materiality, standing less through will than persistence. The symbolic gesture of Deicide is enacted not as negation but as structural failure: transcendence dissolves, leaving the body to absorb its weight. Together, these works trace a continuum—from precarious balance to corporeal overload—where form survives not through resolution, but endurance.