The work "Circlusion" depicts a muscular form in pink marble clinging to a wall-mounted rounded steel rod. Marble has a long history as a valuable material for representing the human body. It can also appear fleshy, lifelike, and almost vulgar, with its colors and veins.

The sculpture plays with the perceived solidity of stone. Marble as a material is heavy and still, but here it appears soft and light, almost as if melting over the steel tube. The veins in the material are worked out to resemble a muscle tensing, holding onto its position.

The title of the artwork, "Circlusion," refers to the concept of queer theorist Bini Adamczak, coining it the opposite of penetration: to "be around and toward a thing, enclosing it, enveloping it, moving over it." It explores the agency of holding and gripping - an action that is often perceived as passive and stagnant, just like stone.

The work "Circlusion" depicts a muscular form in pink marble clinging to a wall-mounted rounded steel rod. Marble has a long history as a valuable material for representing the human body. It can also appear fleshy, lifelike, and almost vulgar, with its colors and veins.

The sculpture plays with the perceived solidity of stone. Marble as a material is heavy and still, but here it appears soft and light, almost as if melting over the steel tube. The veins in the material are worked out to resemble a muscle tensing, holding onto its position.

The title of the artwork, "Circlusion," refers to the concept of queer theorist Bini Adamczak, coining it the opposite of penetration: to "be around and toward a thing, enclosing it, enveloping it, moving over it." It explores the agency of holding and gripping - an action that is often perceived as passive and stagnant, just like stone.