Perhaps for the reason that my father was formerly a geologist before he retired 15 years ago, my primary interest has revolved around what I call " (hecomi)" over the last two decades. (hecomi) pertains to cracks and splits on walls and grounds, wear and tear, and surface layers peeling off the weathered surface; all kinds of decaying effects that appear on various surfaces.
In an attempt to account for decay, one quickly realises that the force of nature is not solely responsible for such effects, but there is also the continuous human presence, and sometimes because of the tension between nature and humankind, (hecomi) emerges.
Undercuts created by cracks and splits often remain insignificant and rather inconspicuous to us. Also, (hecomi) tends to carry negative connotations, giving the impressions of being old, dirty, displaced and strained. Despite its association with such negative undertones, a close examination of (hecomi) reveals to me that (hecomi) has a wide variety of rather enticing formal qualities like charm, vigour, and even some kind of déjà vu like affinities that impel me towards them. Moreover, focusing on the contours, the novelty of the form that embodies warmth, overwhelming energy, and a variety of attractive qualities inspire me to give them a voice to be heard.
(hecomi) as geological phenomena associated with such words as chasm and fissure also appears to be a metaphor for the intensifying tension as well as a rupture of mutual reliance between things and people. Hence, (hecomi) seems as if the voices of these spatial and human interaction have manifested in the forms susceptible to our eye.
After tracing the outline of, for example, a crack on the tarmac road and transferring it onto a PVC plate, its shape is reproduced accurately by cutting out from the plate. This PVC plate cut out in the shape of the crack, which, in my mind, is still work in progress, becomes Κ (totsu), a temporarily suspended entity. This temporarily suspended entity, which I call Κ (totsu) is treated at this stage as an objet d´art, which was originated in Dada and Surrealism. With the reproduced PVC plate in the shape of the crack, such as Κ (totsu), I return to the place where the crack was found and fit the model into it. If it fits perfectly, I feel ecstatic. My creative process culminates precisely in this brief moment. It feels as if fitting the last piece of the jigsaw puzzle, or a unique key without a spare finally fits into its matching keyhole. This is the moment of sheer bliss that perhaps only I can enjoy in the whole world.
It is also the moment that reminds us the long process of hard pavements and cemented solid surface to crack, telling a story of the missing portion, thus what has long been lost becomes no longer inconspicuous to us.
The reason for the use of PVC plates is that by using the material that symbolically represents pros and cons of our modern society, its inorganic and synthetic texture starkly contrasts organic shapes of cracks. Simultaneously, it dispels the obscure and rather heavy impressions of cracks, whilst the striking colour of PVC plates adds to them a light and Pop feel, as the glowing yellow stands out of the often dark and gloomy surroundings.
The next stage entails the process of adding motion to yet static two-dimensional PVC plates cut out in shapes of cracks. More specifically, by adding joints, the static being of an yellow PVC plate turns into a movable and bendable being that becomes playful and lively.
Rather than using the conventional sculpture techniques of modelling and carving, the methodology that I have adopted in creating my work is folding and layering after attaching hinges to shaped plates for the purpose of exploring varying volumes of the pieces.
In order to add a hinge to a flat plate so that it can be folded up, the plate once needs to be cut into separate halves. It poses a serious challenge to find the best spots to cut. Throughout the whole process of making these objets d'art this point of cutting requires the utmost concentration. And the divided objects are once again jointed together by a hinge, and as a result, the object that was formerly a mere plane now gains the possibility of transforming into a three-dimensional form. By repeating this process, the complexity of the model increases and evolves into something beyond a static three-dimensional object, but rather capable of creating a variety of forms and motions, like some kind of a machine or equipment. The machine like entity may illuminate the inner space of those who are confronted with the aesthetic experience associated with the process where the yellow apparatus challenges our concept of dimensions.