The concept of MEDERU – the Japanese term for “just looking,” where inner emptiness allows one to feel, rather than simply see – is central to my practice. This pursuit of calm, inspired by Far Eastern philosophies, is physically realized in my work.

My recognizable sculptures are built using long, flat, rustic clay strips, deliberately reminiscent of a Japanese kimono belt, or Obi. This strip is my primary language. The technique is intensely physical: I hand-stretch the clay, fling it into the air, and decisively slap it onto the board. This process captures the Earth’s gravitational force, allowing the strokes of time to emboss the surface.

In the final, frozen moment, all energies -extinguishing or reinforcing one another – are captured, leaving behind dynamic spatial drawings. My works are not just shapes; they are a tangible record of time, gravity, and conversation with the material.

Agnes Husz