Brutsensual: notes towards a practice

These objects operate where souvenir meets relic. They appropriate the language of kitsch — repetition, accessibility, instant recognition — but they invert its economy: instead of being produced to be consumed, they are made to persist.

The project stages a short argument: what if the discarded, the tacky, the little object owned by millions can be re-sited as the site of reflection? What if the material residue of development (cement dust) and the sediment of nature (shell fragments) together produce a new grammar of place?

A note to older critics: history demanded that kitsch be excluded to protect an illusion of purity. Here, purity is challenged by evidence — the evidence of habit, hunger, and shore. The work does not ask to be forgiven. It asks to be noticed.

Short proposition: tourist familiarity becomes the vehicle of intensity; domestic scale becomes monumentality.