temple of hydra

Temple of Hydra, 2025, 42x52cm, brass, corten, stainless steel, copper  

This sculpture is the first piece in my series of metal wall sculptures and establishes a synthesis between the organic structure of the Hydra animal and sacred architecture. Although the Hydra appears to be a solitary individual from the outside, it is actually the embodiment of a perfect collective system within itself. Its true sociality lies not in its behavior, but in the dynamic cooperation of the cells that form it. The body of the Hydra can be thought of as a "cellular society" composed of continuously renewing stem cells, each dedicated to a specific task. In this society, there is no central brain; instead, cells connected by a nerve net coordinate complex actions such as feeding, defense, and movement with a collective consciousness, in a decentralized manner. Even when a Hydra is cut into pieces, these cells have the ability to reassemble and form a complete organism; this is the ultimate collective action where individual cells redefine and reorganize their roles for the good of the whole. Furthermore, the biological immortality of the Hydra is the most striking result of this cellular collectivism: while individual cells die and regenerate, this dynamic and cooperative "society" of cells, i.e., the organism itself, can potentially exist forever. Therefore, the Hydra is one of the most fundamental and powerful examples of unwavering intercellular cooperation and a collective survival strategy beyond the individual.

physalia physalis

Physalia Physalis, 2025, brass, corten, stainless steel, copper, mild steel

This second work in the series moves from the cellular collectivism of the Hydra to a more complex level of sociality: Physalia physalis which appears as a single organism from the outside, is not actually a single individual but a floating colony composed of thousands of polyps called "zooids," each dedicated to a different task. In this superorganism, some individuals take on the task of sailing, moving the colony, some hunt and defend with their poisonous tentacles, while others are responsible for digestion and reproduction. The architectural language of the sculpture reflects this perfect division of labor; each structural element represents an individual that makes up the colony and is too specialized to survive alone. This sculpture reinterprets Physalia physalis as one of nature’s most elegant "floating architectures," where each of its parts works for the good of the whole.

moving towards ctenophora

Moving Towards Ctenophora, 2025, 50x50cm, brass, corten, stainless steel, copper.

This sculpture, completing the series, interprets the biology of the Ctenophore, also known as the Comb Jelly, with a sublime architectural synthesis, pushing the theme of collectivism to its most radical point. Unlike the Hydra’s self-repairing cellular society and Physalia’s specialized colony, the Ctenophore’s collectivism completely erodes the boundaries of individual identity. The most astonishing fact that inspired this work is that two different and genetically distinct individuals, when damaged, can merge to form a single, functional new organism, a "chimera." The secret to this extraordinary fusion lies in the Ctenophore representing one of the oldest branches of the animal kingdom and lacking a complex "self-recognition" or immune system in the way we understand it. Its cells, instead of asking "is this tissue mine or someone else’s?", focus on the question "is this tissue structurally compatible with mine, and can we function together?"; thus, the concept of individual genetic identity becomes extremely fluid and primitive in them. Therefore, the sculpture depicts the ultimate form of collectivism: a union where individuality is not sacrificed but transcended in a greater existence.