Artist Statement
Landscapes translates the logic of a panoramic view into pure reflection. Instead of describing a specific place, the sculpture records whatever environment it inhabits and stretches it into layered, liquid bands. The polished surface fractures sky, architecture and spectators into horizontal strata that resemble shorelines, dune ridges or distant mountain chains.
By tilting and modulating its ripples, the work invites the viewer to “read” the metal like a moving seascape: calm areas compress into soft haze, while sharper crests catch points of intense light. The piece proposes landscape not as a fixed vista, but as a constantly rewritten dialogue between body, light and mirrored steel.
1/1 Installation
Designed as a wall-mounted sculptural panel; install on a structurally sound wall using concealed brackets or a French cleat system rated for the work’s full weight.
For best effect, position where it can catch natural light from the side – morning or late-afternoon sun will emphasise the long horizontal waves.
In interiors, use soft, wide flood lighting from above or below rather than narrow spotlights to avoid hot spots and allow the whole surface to glow.
Leave enough stand-off distance in front (at least 2–3 m) so viewers can experience the work as a full landscape when approaching, and as an abstract field of reflections when standing closer.
Suitable for gallery walls, hotel lobbies, corporate reception areas and private collections where a single piece can anchor an entire space.
1/2 Relational Works
Mercury Panels – large vertical and horizontal wall pieces using a similar language of reflective waves.
Triptych – three-panel Mercury Effect composition where horizons continue seamlessly from one panel to the next.
Landscapes (other variants) – smaller and cropped works from the same series that explore different light and colour conditions.
Liquid Landscape – earlier single panel in which the wave pattern echoes a shoreline seen from above.
