For over a decade, I have lived away from the place I call home.

Migration has changed the way I experience closeness, memory, and relationships. The people who have shaped my life are no longer part of my everyday physical environment, and our connection is sustained through digital forms of presence – messages, phone calls, and video conversations. Technology allows intimacy to continue across distance, yet it also reveals a new form of absence. Through a screen, another person becomes immediately accessible, but remains physically unreachable. The digital image creates proximity while simultaneously reminding us of separation.

My practice explores this space between presence and absence.

It begins with a personal question: how can we preserve a sense of connection with people who are no longer physically close, and what is transformed when human experience passes through technology, language, and individual perception?

The project develops through conversations with people who are personally connected to me. During video calls, I ask them to describe something that exists within their imagination – an object, a place, a memory, or a form that I cannot directly see. I work only from their words, their voice, their pauses, and their attempts to communicate something that cannot be fully transferred.
These descriptions become the starting point for sculptural objects. The resulting forms are not illustrations of another person’s ideas, but material traces of a process of translation. They exist between intention and interpretation — between what one person attempts to express and what another person is able to receive.

Sculpture becomes essential because it gives physical presence to an invisible process. It allows the distance between two experiences to become tangible. The object records not only what was communicated, but also what changed along the way.

My role within this process exists between authorship and reception. The origin of the work belongs to another person, yet the final form emerges through my own body, memory, and interpretation. The sculpture becomes a shared space created through difference — belonging fully to neither side.

The limitation of vision is an important part of the process. By removing direct visual control, I shift attention towards listening, imagination, and embodied understanding. My body becomes a medium through which another person’s experience is transformed into matter.

The video recordings of these conversations form an integral part of the work. They preserve the moment when a private relationship enters an artistic context. The presence of the camera subtly changes the exchange: participants become aware of their voice, image, and way of constructing their own presence. A familiar conversation becomes a space between intimacy and performance.

The final forms are transformed through casting, introducing another stage of displacement. A cast is never an exact repetition of an original. Material properties, technical processes, and imperfections create differences that remain visible. These changes are not errors, but evidence of transformation. For me, casting reflects the way memory functions. We never return to past experiences in their original form; we reconstruct them. Every memory is another version, shaped by time, distance, and emotion.

This project emerges from my experience of migration and the attempt to maintain relationships across physical separation. Through technology, I try to recover the presence of people who are no longer near me. Yet every attempt to bring them closer reveals another form of distance. The sculptures become places where this distance becomes visible — not as a failure of communication, but as a material space where a new form can emerge.