Hedone (2026) Indian Black Soapstone: L. 14.5 cm – 5.7 in.

Hedone is an abstract, biomorphic sculpture whose organic mass of rounded lobes is crossed by a delicate, decorative, necklace- or bracelet-like string of small beads, defining a subtle border that gently separates different faces of the same matter. 

The size, texture, and solidity of the sculpture invite touch, conveying a paradox of pleasure through stillness and containment. Rather than exuberance, it suggests a deep, inward pleasure—one that is private, tactile, and contemplative, aligned with the classical meaning of “hedone” as embodied sensation.

Harlem (2020) statuario marble: H. 15.8 cm – 6.2 in.

The Task of Dying (2022) Peach alabaster with stone inlays: L. 22 cm / 8.7 in

Artemis, Reformed (Portable Nature)
Grey Tiger’s Eye Alabaster, 2025
H. 12 cm (4.7 in).

Artemis, Reformed (Portable Nature) is a compact sculptural work carved from grey tiger’s eye alabaster. The form draws inspiration from the ancient Artemis of Ephesus, reimagining the goddess of fertility and protection in a contemporary, intimate scale. 

At once sensual and monumental in feeling, yet small enough to be held, this sculpture embodies the idea of portable power—a condensed symbol of endurance, nourishment, and watchful resilience.

Ut sol (2022) Italian agate: H. 29 cm. – 11.4 in.

“Ut sol” (Latin for “As the sun”) gazes upward toward the light. Carved from translucent amber-hued agate, the sculpture radiates a quiet warmth, its surface revealing delicate internal veining and subtle inclusions that animate the stone from within..

The Tears of Eros (2025) Kenian black soapstone: H. 21.5 cm. – 8.5 in.

Carved from Kenyan black soapstone, this stylized head merges multiple profiles into a single form that recalls both ancestral masks and the abstract geometry of the lingam. Incised droplet motifs suggest tears, seeds, or seminal traces, evoking Eros as a figure of desire, grief, and renewal. .

Ambivalence (2023) statuario striato marble: H. 21 cm – 8.2 in.

Carved in marble, Ambivalence presents a Janus-like form—two faces, one body, both alert. Masculine and feminine traits fold into one another, hinting at an ambiguous gender. Its gaze shifts, its stance unsettles: part tenderness, part unease.

Portable Nature (2025) Grey Tigers Eye Alabaster: H. 12 cm. – 4.7 in.

This compact sculpture presents a two-folded body—a double-sided form, a dual torsos unfolding back-to-back. Carved from richly veined alabaster, its polished surface reveals geological striations embedded within a dense, corporeal mass.

Ludibrium (2025) Kenyan black soapstone: H. 31.7 cm. – 12.5 in.

Carved from deep black Kenyan soapstone, Ludibrium presents a dynamic, multifaceted figure with carved tears that punctuate the polished surface of the stone. The sculpture’s title, from Latin, suggests irony and evokes complex, elusive ambiguity. Its fluid contours and dense clustering of faces propose a collective body, an emotional chorus held in tension.

Around Itself (2024) Kenyan black soapstone: H. 22.6 cm. – 8.9 in.

A Sculpture Into Which Thoughtfulness Had Entered (2024) Black soapstone: H. 32 cm. – 12.6 in.

From this multifaceted piece, a sense of interconnectedness and shared human experience emerges, inviting the viewers to delve into the depths of introspection, empathy, and elemental presence.

Mothersculpture (2025) wizards mist black alabaster: H. 20.5 cm. – 8 in.

Continuum (2025) purple blossom fusion soapstone: H. 30 cm. – 11.8 in.