In Collapse of meaning I (2026) the image is constructed from sculptures of different provenance (classical statuary, Plasticine modelling) and toys, fused into one mass, an impossible sculptural body, isolated and emphatic against a neutral ground. Bodies in torsion and everyday objects come together in a work that is no longer sculpture but its parody or its symptom. The red monochrome, intense and unbroken, reinforces this impossible unity and erases any hierarchy between the elements. The painted surface, polished and almost photographic, returns this digital image to the territory of painting.
The title names the condition that the work stages. When signifiers accumulate beyond a certain threshold, meaning collapses, and that collapse becomes, paradoxically, the only available meaning. The work operates as an emblem of that postmodern saturation, in line with the idea of the collapse of fixed meaning.
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