The sculptures “bare no trace of hand”—yet they’re loaded with autobiographical value. How important is it for you, if at all, to remain seemingly removed from the artwork whilst expressing such personal experiences?
While I have been institutionalized for both mental and neurological conditions, I don’t see my sculptures as autobiographical or personal. The exterior finish of each form was developed out of a reductive process. Each of the five forms have been machined milled to reveal its material properties. The introduction of my hand would only suggest a painterly or pictorial approach towards form, therefore it’s important for me to remain removed.
You have been shortlisted for the Pinchuk Future Generation Art Prize for 2019, which will culminate in a group exhibition at this year’s Venice Biennale. Can you talk us through this exhibition, and any other projects you are planning for the year ahead?
I’m currently working on three sculptures for The Pinchuk Art Center, each of which in direct response to The Vinnitsa Regional Psychoneurological Hospital in Vinnitsa, Ukraine. Founded in 1897, the active institution specializes in polyclinic medical care for psychiatry, neurology, and neurosurgery. I have identified, archived and recast one metric ton of the hospital’s steel bedding into two concentrated forms. Additional material extracted from the site has been distilled into a steel byproduct, which will be burnished directly into Pinchuk’s museum walls.