The sculptural collection called “waste” builds on my older work with natural materials such as branches, straw, etc. The common denominator is the thematic content focused on the decomposition of life forms, especially dead animals, that I have come in contact with from time to time during my life.

The cycle is typical of a specific workflow, which I have called “transdigital sculpture.” It is a combination of digital, machine and craft technologies that interconnect across virtual and other realities. The object is constructed primarily in the virtual space of the mind, then converted into digital form and then materialized by a machine or modified by a physical postprocess.

It is therefore possible to understand this cycle as a concept with a clear idea at the beginning, the final form of which is directly influenced by the chosen technologies. This process is closest to me because it covers all aspects of my interest.

Through this process and the way we understand the work of our mind, we can characterize the technological level of our current civilization. Tomorrow we will probably only send data directly to our implanted chips, which will be designed to mix our amino acids into a predetermined cocktail so that we can experience precisely defined feelings, ideally without the influence of our senses, because that is the only way to achieve clear transmission of information.

The cycle opens the way for me to a technological experiment and learning about new aesthetic structures. Since I create most of my artwork using a computer, I can use 3D data for additive and subtractive production or I can combine production processes with each other. Some works and their forms are created in larger but limited numbers and it is possible to buy them.