Late Stage Brologluglia is an automated sculpture that roams the room, hoovering up metaphorical resources. Ten wax-cast heads, melted, slumped, and fused into a tumorous mass, form a grotesque corporate terrain. The choice of wax as a material suggests fragility: faces that could collapse under heat or pressure.
Among them, empty office desks scatter the landscape. A single human figure sits adrift, severed from the computer it once served, unable to steer, and caught in the churn of extraction. The work critiques not just these ten ultra-wealthy men, but the system that produces and protects them. As of June 2025, their combined wealth exceeds the GDP of all but eleven countries. This concentration of power shapes laws, distorts public discourse, and influences everything from housing to employment through lobbying, and control of digital infrastructure. Perhaps most frightening of all to me is the control over our attentional resources in a largely unregulated landscape.
The process of making Late Stage Brologluglia was experimental and hinged on a hybrid approach starting from digital and ending with utilising the preexisting technology housed within the Roomba and the tactile materials of beeswax, and expanding foam. I used partially automated 3D modelling to generate likenesses of the ten wealthiest men in the world from photographs, allowing me to quickly produce a set of digital heads. This process gave me the freedom to play with scale and composition before moving into the physical casting.
Like much of my work, it’s both labour-saving and labour-intensive: the use of accessible technology enabled a kind of hyper-productivity, while the traditional techniques — creating silicone moulds and casting in wax — allowed for tactility, repetition, and reformatting. The result is a modular system through which the heads can be reproduced and reconfigured into different sculptural forms.
Blurring of reality as Vertical Structure