Continuing the research into contemporary violence and the concept of the Inhuman Horizon, I seek to construct a space that invites viewers to develop a new organ of perception for critiquing contemporary technology and the systems of violence it sustains. At the core of this inquiry is the representation of the technological legacy from wars—not merely as tools, but as preemptive threats that support an ideology wherein technological development becomes self-perpetuating and self-justifying.

 

I think this ideological paradigm depends on the retreat and vanishing of traditional violence from visual reality and the concealment of contemporary systemic violence simoutaneously. It is not technology itself that acts, but the ideology rooted in its destructive potential—especially as shaped through modern warfare.

 

My practice critiques this ideological framework and the contamination it produces. Central to my work are automated devices, metal structures, and heteromorphic meat-like forms, which collectively summon a return of explicit, stylized violence—drawing on the bloody aesthetics of B-movies—not into life, but into art. This interiorized, speculative space reimagines and contains violence, forming what he calls the Inhuman Horizon—a site not only for the presentation of art, but for the production of critical perception itself.