From your gaze, one perceives the sensory power of a suspended moment—the sacredness of touch, the delicacy of an erotic intimacy not yet fulfilled. In a society that rushes towards the aftermath, often associating the act with violence, do you believe it is possible to artistically educate people to appreciate the sensitivity and depth of the present moment?

It’s not about education. It’s about being present and thus creating space. An artwork that is created in this space becomes an open door to presence.

Is there a darker side, an element of rejection, that you perceive both in the corporeal representations of ancient Greece and Rome, and in those of the digital age—yet which, when combined, create an artistic balance?

I think the stone of the sculptures and the screen of the digital age demonstrate a physical limitation. You might be drawn to touch what you perceive as gentle and soft but this can only lead to disappointment when the real phenomenon is cold, hard or even not touchable at all.

Does emotional psychology come first, or the valorisation of materiality? How do you weigh the importance of these two elements in your work?

I would say they go hand in hand. When you look at human beeings, you can see each ones psychological condition through their outer form. This is inseparable.