Bewildered, sad, furious forms…

Although the series, comprising of 10 sculptures created during the same period as the Mutation Project, is often seen as a continuation of the Mutation series due to its name and the use of sculpture and material depicted in the Mutation photographs, it was actually designed with distinct aims and intentions separate from the Mutation series.

The 10 sculptures in the series are not inspired by the epic flying horses or half-goat, half-man satyrs of Greek mythology. Instead, they draw inspiration from distressed cormorants coated in oil, sorrowful sea turtles consuming minuscule microplastics, and enraged formations thriving on enormous plastic islands in the oceans. Upon closer inspection, one can easily discern the bewilderment, sadness, and even fury conveyed through the expressions of these sculptures, meticulously crafted from fireclay and supported by various minerals to withstand the rigors of being fired at 1050 degrees.

The sculpture featured on the cover photo, titled “Bureaucrat,” stands at the entrance of the gallery, which has almost transformed into a spectacle akin to a circus, and greets exhibition visitors with a downcast gaze. Dressed in an absurdly oversized blue suit, disproportionate to its body, it too bears the marks of an unnatural mutation. Its damaged, decaying, and shrunken head, resembling a freakish deformity, reveals that it is no different from the sculptures inside. Nevertheless, it stands at the entrance, hunched over with its hand on the nonexistent buttons of its jacket, respectfully welcoming the exhibition visitors—the very individuals who have contributed to this calamity.