Interview about Skin Art Installation, winner of the A' Fine Arts and Art Installation Design Award 2024
This art installation is composed of 3 airy human figures made of light natural material (skeletons of tree leaves), which seem to float in free space. They resemble costumes that follow the anatomical shape of the body. Leaf skeletons actually are the circulatory system of a tree leaf, that is, the system that supplies them with water and keeps them alive. These figures, with their transparency, at the same time resemble the skin that the snake sheds after it becomes too tight.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsThe technique used to create this installation is entirely new, developed through numerous trials and errors. In the end, I succeeded in achieving the ethereal appearance of the objects, which speaks to the ephemeral nature of existence itself and the delicate, transient interplay between the human form and the natural world. The choice of leaf skeletons as a material was inspired by their intrinsic fragility and their ability to metaphorically echo the human skin with its circulatory system. The leaf skeletons symbolize resilience and renewal, highlighting the beauty of the cyclical processes in nature.
The ethereal quality of the installation speaks to the fragility and impermanence of the human form, while its floating, almost weightless. By using delicate materials like leaf skeletons, I sought to create figures that appear both vulnerable and resilient, reflecting the duality of human existence. This work reminds viewers of transformation as an intrinsic and beautiful part of life. It’s a reminder that we are constantly evolving.
Creating the Skin Art Installation required finding the optimal technique for connecting the delicate leaf skeletons to ensure the forms were both stable and ethereal. Leaf skeletons are incredibly fragile and tear easily, making conventional methods, such as stitching, impossible. Through experimentation, I developed a method of connecting the skeletons into a mesh-like structure, which provided the necessary rigidity while still maintaining their lightness.This mesh was carefully arranged to follow the anatomical contours of the human body, emphasizing its structure and organic flow. I used a specialized adhesive technique, ensuring the glue was almost invisible to maintain the ethereal aesthetic. Additionally, I incorporated gradient coloring to enhance the three-dimensionality of the forms and highlight the intricacies of human anatomy. This experimental process was both meticulous and rewarding, allowing the final work to embody the delicate balance between fragility, stability, and anatomical precision.
The three figures in the Skin Art Installation differ subtly in size, positioning, and color gradients, which were deliberate choices to evoke the narrative of growth and transformation. These variations reflect the diversity and individuality of human experiences while maintaining a cohesive visual dialogue between the figures. Each figure requires a significant amount of time and meticulous craftsmanship to create, as every detail contributes to the overarching narrative. The intention is for the installation to grow over time, incorporating additional figures of varying sizes, colors and postures. Recently, the work was enriched with the addition of another figure, further expanding the narrative. This evolving composition reinforces the idea of transformation as a continuous process.
The decision to present the figures in Skin Art Installation without limbs and heads is deeply rooted in both historical references and the conceptual framework of the work. Ancient sculptures, often crafted from durable materials like marble, have survived the passage of centuries, yet their fragile parts—hands, feet, and sometimes heads—are frequently missing. This physical fragmentation has become a symbol of time’s impact and the impermanence of even the most enduring creations.In contrast, my figures are intentionally crafted entirely from ephemeral materials, emphasizing their vulnerability and transience. The absence of limbs and heads in my work is not due to physical deterioration but is a deliberate artistic choice. It represents the fragility of existence and the incomplete, ever-evolving nature of human transformation. The visual parallel to ancient sculptures serves as a bridge between the timelessness of classical art and the fleeting, delicate nature of contemporary human experience. In today’s world, where everything is preserved in digital documentation, this choice also raises questions about what we define as enduring.
The dynamic interaction between the Skin Art Installation and the gallery space, facilitated by air circulation, introduces a kinetic element that profoundly enhances the metaphorical significance of transformation. The delicate figures appear to float and gently rotate, emphasizing their ethereal quality and evoking a sense of weightlessness and impermanence. Positioned two feet above the ground, the figures create the illusion of a person hovering just above the earth, caught in a moment of transcendence. The movement caused by air circulation brings the figures to life, further drawing the viewer into the narrative of transformation and reminding us of the fragile, fleeting nature of being.
n my previous works, I have often explored the similarities between systems in nature. For a certain period, I focused on studying circulation systems in living beings. The skeletal structure of leaves serves as their circulatory system, delivering all the necessary nutrients to sustain life, much like the human circulatory system, which transports vital resources throughout the body. By incorporating leaf skeletons into the figures, I sought to draw a parallel between these two systems, emphasizing the interconnectedness between humans and nature. The intricate vein patterns of the leaves echo the networks of blood vessels within the human body, adding a layer of visual and conceptual depth to the work.
When it came to the presentation of the Skin Art Installation in space, I knew from the beginning that the works needed to be suspended to create the illusion of floating. The use of clothing hangers was a deliberate choice to emphasize a new dimension of the work and add an intriguing layer of meaning.The hangers introduce a dialogue between the everyday and the ethereal, making the figures resemble garments—costumes, perhaps—that we wear and then hang in the closet at the end of the day. By using such a familiar object, I aimed to spark curiosity and invite viewers to connect with the work on both a conceptual and a personal level.
My artistic practice often evolves in parallel, exploring multiple themes simultaneously. When I have more energy, I tend to focus on socially engaged topics, creating works that address pressing issues and invite critical dialogue. However, there are moments when both the mind and body require rest and rejuvenation. It is during these times that I turn to works like Skin Art Installation, which I consider to be, in a way, meditative. These pieces allow me to engage deeply in the process of craftsmanship, where meticulous handwork, repetition, and mastery play a central role. This methodical approach not only shapes the physical work but also creates a mental space for reflection and re-centering. Through this, I can organize my thoughts and find clarity, which ultimately feeds back into my broader artistic practice. In this sense, Skin Art Installation represents not only themes of growth and transformation in a universal context but also my own personal evolution as an artist, balancing the intensity of social themes with moments of introspection and renewal.
Inspired by this award-winning piece, I envision further experimentation with natural materials that emphasize impermanence and transformation, possibly exploring how these materials interact with space, light, and movement. This direction will allow me to continue balancing socially engaged themes with introspective, meditative works, pushing the boundaries of both technique and meaning in my art.
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