“Untitled (Somatic Circuit)” presents a complex and evocative installation that bridges the intersection of anatomy, material literacy, and conceptual exploration. The assemblage of materials—including organic elements, mechanical components, and digital elements—creates a compelling narrative about the human body, its cultural representations, and the intricate interplay between nature and technology.

The installation features a striking juxtaposition of natural and industrial materials. The organic forms, such as branches and bones, contrast sharply with the mechanical parts, like bicycle wheels and digital monitors. This contrast emphasises the tension between nature and technology and invites viewers to reflect on the body’s place within these realms. Incorporating anatomical structures, such as the spine and pelvis, rendered in transparent or semi-opaque materials evokes a sense of fragility and transparency. These elements are strategically placed within the installation, allowing the viewer to navigate around them, creating a dynamic and immersive experience. The viewer’s movement becomes part of the work, engaging with the physicality of the materials and the space.

“Untitled (Symbiosis)” explores organic and mechanical elements, merging them into a singular, striking form. The work’s central feature—a spine-like structure composed of dark, textured materials—evokes a powerful sense of fragility and resilience. The organic appearance of this structure, combined with the wires that cascade from its base, suggests a connection between natural forms and technological interfaces, creating a dialogue between the body and the machine.

The spine-like form’s rough, almost visceral texture contrasts sharply with the smoothness of the wires and the tripod stand. This contrast emphasises the work’s dual nature—organic versus mechanical—and invites the viewer to reflect on the relationships between the human body and the synthetic extensions of our reality. The use of wires suggests neural pathways or technological conduits, further enhancing the idea of a hybrid organism that transcends traditional boundaries. The dispersed elements at the structure’s base, resembling scattered fragments or remnants, add a sense of disintegration or breakdown, hinting at the impermanence and vulnerability of both biological and technological systems. This fragmentation can be seen as a commentary on the decay inherent in all systems, whether organic or artificial and the inevitable entropy that affects all forms.

The sculpture’s form, resembling a spine or vertebral column, immediately draws the viewer’s thoughts to the human body. However, its exaggerated curvature and the unnatural extension of wires transform it into something otherworldly, almost alien. This transformation suggests a more profound commentary on the evolution of the human body in response to technological advancements—how we are increasingly becoming cyborgs, integrating machines into our very being. The work can be interpreted as a reflection on the fragility of the human condition, particularly in the face of advancing technology. It raises questions about what it means to be human in an age where the lines between organic and artificial are increasingly blurred. The spine, traditionally seen as a symbol of strength and support, becomes a conduit for technological manipulation, suggesting how our fundamental human characteristics are being altered or controlled by external forces.