These small-scale works in silver and shibuichi are cast from original models sculpted in Model Magic, a low-grade children’s craft material chosen deliberately for its softness and immediacy. This material aligns with the artist's model-making approach developed for exhibition maquettes—quick, intuitive, and tactile. Despite its unsuitability for precision casting, Model Magic is used intentionally to produce ‘failed’ or imperfect casts, embracing the unpredictability of the process.
The resulting works often feature pitted surfaces, missing hands, warped forms, and incidental holes. These so-called imperfections are not flaws but are central to the aesthetic and conceptual intent. Rather than aiming for clean, accurate reproductions (as would result from traditional wax casting), the artist values the roughness, the sense of erosion, and the patina of time embedded in the final object. The appearance evokes ancient relics or time-worn fragments, suggesting a narrative of damage, ritual, or excavation.
The use of shibuichi—a historical Japanese alloy—further enhances this feeling of age and mineral presence. The surface qualities and material palette speak to ideas of incompleteness, survival, and transformation, positioning these small sculptures as artefacts that hover between contemporary gesture and archaeological find.