Plaster, gesture imprints.
The technique of plaster casting has always been part of my sculptural practice. It’s a material whose simplicity and aesthetic I deeply appreciate. One day, I poured plaster into my hands and waited. What emerged was a kind of shell — a three-dimensional overlay of the gesture of my hands in offering, a negative of absence. I then repeated the experiment around me, asking people to shape a gesture together. They don’t always know each other. They wait together for the plaster to set, and I keep the imprint of their encounter to create a landscape of relations.