Through a self-invented process, I suspend, encase, and permanently preserve animal blood, salvaged from slaughterhouses, in plexiglass and UV resin. This technique is designed to retain the blood’s natural colors and textures and to expose its finite details.
When lit, the works become more translucent, cast shadows, and project a glow onto the wall behind them. This effect reveals multiple layers of organic material floating in clear resin and makes the works appear as if they are illuminated from the inside.
For the blood-lit environments, I use overhead projectors to shine and enlarge patterns from translucent blood panels into spaces. The color photographs document models covered in blood light. The blood light abstracts their bodies and appears as new layers of skin, epidermal diseases, tattoos, and natural birthmarks. The materials and luminosity in this new body of work relate to themes of corporeality, mortality, spirituality, and science—regenerating the blood as sublime.