As an apparatus for perception, a sculpture has the capacity to be both an instrument directing attention and a tool for orientating bodies. When understood as an apparatus, the task of sculpture is to bring the subtle, often imperceptible, forming exchanges between material bodies to the awareness of those who encounter them. Encounters between bodies (both living and non-living) involve interactions; these interactions generate an exchange of information that shapes both bodies. These forming exchanges reveal how information acts as a structuring force on bodies as an alteration of the positions and the perspectives of those encountering the artwork.
The sculptural apparatus of fluid balance bodies (2018–2019) employs point pressures and resistances as a means of forming. Metal, clay and skin were used in this artwork for their capacity to respond to fluctuating pressures and to transmit or hold tension. As malleable compounds of variable consistency, their internal structures react to changing conditions; revealing the molecular exchanges as macroscopic alterations of position in relation to a fixed frame. Close examination of how these imperceptible structuring forces operate on the malleable compounds, and their subsequent interactions with other bodies, makes evident how information is contained, exchanged and transmitted through sculptural apparatuses.
