MONA 1

MONA 2

MONA 3

MONA 4

MONA 5

MONA 6

MONA 7

Enlightenment automata aimed for perfection. They demonstrated that living organisms could be understood as machines by surpassing human precision. Through crude mechanics—an off-center weight, and irregular cams— my automata invert that logic: it captures what a perfect mechanism was meant to eliminate: hesitation, vulnerability, the constant tremor of being a living organism. The question isn’t whether the automaton feels—it’s why such simple motion makes us feel seen.

Both Drawing and Automata series are regarded as self-portraits—autobiographical objects formed through extended periods I spent with my dog in dense forests and ecological reserves. Immersion in these remote, resonant landscapes was experienced as both shelter and contemplation. In such isolated environments, unseen nocturnal presences were sensed and pursued by my dog—an invisible activity that is attempted to be reflected in the drawing series. I want to evoke the world as it flickered through my dog’s hyper perception: a realm of nano-signals and silent turbulences beyond human sight. The visions of my dog are my dreams while camping in a sleeping bag — my cave, my shelter, my house, my matrix — in the middle of the forest.