The work begins with organic materials — leaves, flowers, stones. They are selected for their physical properties: weight, fragility, tension, flexibility. Each composition is assembled in real space. It exists briefly. Then disappears.

These temporary constellations are not preserved. They are translated into image. The image does not document the moment. It extends it. What existed briefly becomes a new state.

Each work carries a trace of movement. Balance, rhythm, and suspension pass from the body into still form.

The image enters matter. Aluminium, wood, and silk are not supports, but conditions of perception.

Metal establishes distance.

Wood introduces weight and decision.

Silk allows continuity and breath.

The image adapts to the material. The material reshapes the image.

At a certain point, the process gathers. Time, having unfolded through multiple states, condenses into clear crystal form. Each work is paired with a crystalline structure — a point of precision within transformation.

The work moves in a cycle:

from living matter -

to composition -  

to image -

to material -

to condensation.

It does not end.

Bali Ku remains an ongoing method of transformation, presence, and condensed duration.

Bali Ku is a method of extending and condensing time through material transformation.