living like a Last Rendezvous

Sculpture made with the mouth.

The breath, like curses or wishes, and the constraint of using a spatula held in the mouth.

The paper clay material incorporates fragments of torn letters.

The skeletal form anonymizes gender, race, nationality, occupation, and attributes; the relationship between these two skeletons is also anonymous.

My ongoing practice aims to visualize the dignity and very existence that remain until the end for those marginalized by the medium of sculpture, which carries a certain authority.

It also seeks to imbue the creative process itself with meaning by creating while resisting, using a body constrained and restricted.

The work's title references a piece once rejected from the Venice Biennale for “suggesting homosexuality.”

Using bodies constrained and restricted, I create works that resist in order to visualize the dignity and very existence that remain until the end for those marginalized, in response to the medium of sculpture that carries a certain authority.

Furthermore, being bisexual myself, I explored whether it was possible to capture the existence of marginalized attributes. Bones are a part common to all humans, and their form is an anonymous one that encompasses race, gender, nationality, disability, attributes, and more.

This is a portrait sculpture for all marginalized beings.

Paper clay made from letters, gofun (white lead powder), bone powder, gesso, fragrant oil, and other materials

Created using Mito's original technique, formed by applying a spatula to the mouth and using breath

The title is taken from a work that was nearly rejected from the Venice Biennale for “suggesting lesbianism between women.”