OVERGROWN

Overgrown is part of the sculptural universe I have been developing over the years, where each series explores a different perspective on the relationship between nature, memory, and imagined worlds.
Inspired by the tropical landscapes and cultural richness of Southeast Asia, the series reflects my fascination with the way nature gradually reclaims spaces shaped by human hands. Rather than depicting destruction, the works explore a slow and silent transformation, where architecture and vegetation eventually become inseparable.
The sculptures portray a miniature archaeological world in which artificial vegetation, preserved fungi, and real insects slowly overtake ceramic forms coated in copper. As the copper naturally oxidizes, each sculpture continues to evolve over time, allowing the material itself to become part of the work’s ongoing transformation.
The Buddha appears not as a religious symbol, but as a quiet witness to the passage of time. Gradually absorbed into its surroundings, it becomes part of a new ecosystem where culture and nature no longer exist as opposing forces, but as a single living presence.
Like the other series in my practice, Overgrown is not intended to recreate a specific place. Instead, it constructs an autonomous world shaped by time, memory, and the quiet persistence of nature. It is a reflection on nature’s enduring ability to reclaim what humanity leaves behind not through violence or decay, but through patience, adaptation, and continuous renewal.