The quasi-archaeological trope of installation  “Copper Burial Suit” (2022) and "Eversion" seriesis (2022-2025) is further intensified by a series of assemblages titled “Prostheses”, composed of fossilized human bones and man-made elements that meticulously reproduce anatomical morphology using the materials and techniques characteristic of the series as a whole. This authorial strategy not only expands the conventional boundaries of museum ethics, but also produces the effect of funerary equipment belonging to a warrior of the transhumanist era.

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It heightens the sense of a shift: the organic and the artificial are not opposed here, but fused to the point of indistinguishability. These assemblages capture a moment in which the human has already exceeded the limits of its biological givenness.

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“Prostheses” repel through their testimony of death, while simultaneously placing the viewer within a zone of epistemological uncertainty: we encounter objects that belong at once to archaeology and to futurology. “Prostheses” do not so much narrate the future as invite us to consider the present as already sedimented for future excavation - as a time in which the human body has, for the first time, become fully inscribed within the field of technological imagination.