I'm a figurative sculptor and I work with a model. The process of making the work is essential. My process is about transferring the energy from the model into the clay. Then, the sculpture will start taking on live characteristics; it almost starts breathing. My energy is like a filter by which emotions are transferred into the form.  As John Berger writes in -”The Shape of a Pocket”, “For an instant, the energy of one's perception becomes inseparable from the energy of creation.”

The sculptural skills, which I refer to as my language, help me to present my subject matter and preserve the experience of being with my subject. It's important for me to understand the model. Mutual eye contact is key in this process. I'm using the model to bring out my energy. It is more about transferring the energy from a live beings (myself and the model) to the work of art than about simply capturing a likeness. This is where emotions and feelings come into play. The physical body is less important than the energy that travels between me and the model. This is why the sculpture has not only a surface life but an internal life as well. The essence from the inside of the internal body shapes the surface like the wind twists the ocean waves.
  
Technically, I use resin as a final material. It helps me to define the metaphor: the body experienced as energy as opposed to the body experience as physical properties. The use of resin allows me to describe the surfaces at a layered level, making the initial surface less opaque and absolute so the viewer's eye can slide from the surface and travel around the fragile translucent edges. I purposely preserve texture and all marks including even my fingerprints, which are traces of my presence in both the process and in the finished work.