When I call my project “Extension”, I understand this term in a very general sense, which refers to my work and sculptural work in general, and in a special sense, which clarifies the focus of my latest works.

Sculpture in general is the expansion of a body in space, and since nature is my great model, this expansion could also be interpreted as movement, which is similar to organic growth processes. In a way, my sculptural works could therefore be seen as an extension of natural processes into the artificial/artistic realm. What applies to the individual work also applies to my entire artistic production that accompanies my life. My latest works are an extension, a further “outgrowth” of this production – which incidentally also includes communication with painting. One last meaning of “expansion” in the general sense should be mentioned here, that of language. It is as if my works often evoke titles in my mother tongue, Urhobo, and these drive the artistic process forward, which probably also has to do with the special sound, rhythm and imagery of Urhobo.

In my latest works, I am particularly interested in the expansion of the body into the space, which happens when the sculptures are placed in a special installation or lighting context. In other words, for me the various shadows are not something secondary and randomly generated, but rather they continue the play with natural forms and growth processes in space, they further expand the interpretative space of the forms. Shadows also play an important role in my more recent paintings. Although they fix a certain spatial illusion in these representational pictures, they have a tendency to take on a physical or expressive-painterly life of their own. As in the installations of the sculptures, they do not seem to be the mere projection of the bodies onto a surface, but rather the extension of the bodies into the (real or apparent) space.