...In der fundamentalen Stimmung des Schreckens haben wir dieses Ereignis in unserem Wesen erreicht, dank dessen nichts offenbart wird und worauf die Frage gestellt werden sollte.
Martin Heidegger, 1889
Sculpture is the favourite and major media for the artist. For him, the creative process is always a dialogue about its ontological grounds, or rather a question of lawfulness, or in Socratic terms Ė legitimacy. For this, it is necessary to reflect on form as a phenomenon of a copy, the idea of which lies somewhere beyond its borders but appearing to us in this particular shape. The idea of the transcendental puts an artist into one possible role of an attentive observer of what we call physical phenomena which we can find in daily life.
For instance, diffusion of ink in water reveals some eternal law of physics. It is a transfer from one state into another with mesmerizing movements of ornaments created by the swirls of dissolving paint. This phenomenon could be attributed to what the Greeks used to call fusis (creation), or more accurately Ė its visual metaphor.
The idea of extracting form out of observations of a diffuse phenomenon has become the foundation for creating the objects of the Trinity project. The method constitutes an intuitive generalization of forms, created by volume densifications, and sculpting the shape. The sources for this work are pictures made with the Hubble telescope which are published in the Expanding Universe catalogue. The attempt of shaping an authentic form (sculpture) from such a non-authentic phenomenon as diffusion may be described with what Heidegger referred to as one of the manifestations of being (dasein) Ė ubitious (durchdringliche), albeit not a physical phenomenon as described in secondary school textbooks, but existence being manifested through this stir and anxiety.††