Sixteen was conceived as a deliberate departure from the brutalist forms that typically dominate my sculptural language. Instead, the work gravitates toward a more organized, floral geometry, a recurring shape that appears frequently in my sketchbooks and intuitive drawings.

The marble is selected for its pronounced veining, rich with variation and character, allowing the material itself to guide the form. In contrast, the glass introduces a perceptual shift: appearing flat and restrained from one viewpoint, it reveals dimensional depth as the viewer moves around the work. This subtle transformation activates the sculpture spatially, inviting an intimate, slowed engagement.