AMBIGUUS I

Ambiguum I emerges from the intersection of two ongoing bodies of work: Momigami and Transmutare Series. Conceived as a double-sided mix media work, it resists a single point of view. Front and back are equally significant, inviting the viewer to experience ambiguity as both a physical and conceptual condition.
For years, I have collected discarded materials—papers, packaging, plastics, foams, fabrics, wasp nests—as well as remnants of my artistic process. Rather than treating these materials as waste, my practice seeks to reactivate their histories and possibilities.
The Momigami originated from this context. Inspired by the traditional Japanese technique of kneading paper (momi = knead, kami = paper), the process became both a symbolic and material gesture. In everyday life, crumpling paper is often the final act before disposal. Here, the same action becomes a means of transformation. A gesture associated with discard reveals unexpected material potential and new possibilities for meaning and perception.
Transmutare expands this investigation through “creative transmutations” where cultural references, techniques, and material identities hybridize. Paper may acquire the appearance of metal, leather, or fabric, while stencils cease to function merely as tools and become part of the artwork.
In Ambiguum I, these approaches converge. Materials oscillate between contrasting states—fragile and resistant, organic and industrial, familiar and unfamiliar. The double-sided structure reinforces this instability, revealing different narratives according to the viewer’s position and emphasizing that no single perspective can fully contain the work.
Through physical and symbolic transformation, Ambiguum I proposes ambiguity not as uncertainty, but as a space where matter, memory, and meaning remain open to becoming.