Location: Amsterdam, The Netherlands
Type: Art Project
Medium: Mixed Media: modelled clay on painted canvas
Description: exploring identity, perception and cyclical movement through coded material language
Completion: May 2025
IDEA | This first work in the RGB – Clay Frequencies series begins with the self as the origin point of all language and perception. Through two relief panels, the project explores opposing yet interconnected directional forces: one radiating outward, positioning the figure at the center of a surrounding world, while the other reverses the movement entirely, drawing all elements inward until time itself expands beyond the individual. Together, the works investigate the relationship between selfhood, time, presence, and the cyclical nature of perception.
SPATIAL CONCEPT | The installation functions as a closed spatial and conceptual circuit rather than a linear narrative. The two panels mirror and counterbalance one another through opposing directional movements, creating tension between expansion and absorption. Space is activated through rhythm, repetition, and orientation, allowing the viewer to experience the works as part of a continuous rotational system where forces move simultaneously outward into the world and inward beyond the self.
MATERIALITY | Clay operates as the foundational material language of the series, combined with RED clay tones, BLUE powder pigment, and GREEN sage references as symbolic earthen frequencies. These colors function as coded anchors of meaning, transforming material into a sensory and psychological vocabulary. The tactile quality of clay preserves the immediacy of the hand, while pigment introduces atmospheric and symbolic depth, creating a dialogue between physical matter and encoded perception.
FORM & MOVEMENT | Geometric primitives emerge from the relief surfaces, casting micro-shadows that animate the flat plane with subtle movement and spatial vibration. Although the same visual vocabulary appears across both panels, its arrangement and directional syntax shift entirely. The forms suggest cyclical motion rather than static composition, emphasizing rotation, reversal, and the continuous exchange between inner and outer realities.
TECHNIQUES | The work combines relief sculpting in terracotta with layered applications of powdered pigment and digital photographic documentation. Extruded geometries are carefully embedded into the clay surface to create variations of depth, light, and shadow. The process emphasizes the physical imprint of the hand, allowing repetition, pressure, and gesture to become part of a larger coded system where material itself functions as language.
PERCEPTION & INTERACTION | The project invites viewers to navigate the relationship between symbol, color, and movement through their own perceptual interpretation. Meaning does not emerge through direct representation, but through the accumulation of repeated forms, directional shifts, and material traces. As the viewer moves between the two panels, the work unfolds as a visual grammar in which rhythm, contrast, and spatial orientation generate an evolving sensory dialogue
REFLECTION | RGB – Clay Frequencies proposes a new coded language pressed into matter, where color anchors meaning, repetition constructs dialect, and gesture becomes both signal and imprint. The work reflects on how identity and perception continuously oscillate between projection and absorption, positioning clay not only as material, but as a carrier of memory, rhythm, and embodied communication.
