ZT Tosha
Title: Black Organon (Folded Pressure Study II)
Material: Black technical fabric,Internal sculptural armature,Small hard sculpted element,Black plinth,Illuminated glass and wood vitrine
Dimensions:
Approx. 50 × 75 × 45 cm –
(Vitrine approx. 90 × 110 × 70 cm)
Year: 2025
With Black Organon (Folded Pressure Study II), ZT Tosha extends his language of compressed anatomies—dense, swollen, and insistently inscrutable. The sculpture sits low within its vitrine, a dark organism caught in a state of arrested expansion. Its bulbous forms press outward against the taut black skin, producing an uncanny sensibility: at once corporeal and mechanical, intimate yet resolutely withheld.
The piece reads as a choreography of pressure. Each tightly stitched seam functions like an incision that simultaneously defines and restrains the body beneath. Tosha’s masterful use of technical fabric—a material associated with protection, performance, and containment—gives the work an unsettling emotional grammar. It evokes musculature under tension, organs negotiating for space, or a creature folding in on itself to survive.
The small protruding form at the top introduces a moment of near-sentience, like a compressed head, sensor, or embryonic limb emerging from a mass that is not yet ready to reveal its architecture. This gesture is subtle but pivotal: it transforms the sculpture from a static object into a being suspended at the threshold of articulation.
The vitrine, illuminated from above, turns the work into a specimen—an artifact extracted from a future biology. Yet its presence frustrates any clinical legibility. Instead, Tosha offers a sculptural riddle, a body that conceals the very logic of its making. By sealing the form within a wooden-framed glass chamber, he amplifies its muteness, treating repression not as a limitation but as a generative force.
In Black Organon, Tosha continues to push his oeuvre toward a poetics of withheld revelation. The work pulses with dense interiority—a silent, pressurized life form caught between emergence and retreat.
ZT Tosha
Title: Disalignment Study (Head No. 1)
Material: pigmented cast resin
Dimensions:
Approx. 45–60 cm height
Approx. 25–35 cm width
Approx. 25–30 cm depth
Year: 2025
ZT Tosha, Disalignment Study (Head No. 1), pigmented cast resin sculpture, 2025.
In Disalignment Study (Head No. 1), ZT Tosha advances his inquiry into the instability of identity through a formally restrained yet conceptually charged portrait. The sculpture depicts a frontal face—stylized, serene, and bearing traditionally feminine markers—followed by a sequence of offset profiles that progressively blur into ambiguity. These trailing visages are neither strictly masculine nor feminine; instead, they register as iterative deviations, like echoes slipping out of sync with the original note.
Cast in a smooth, matte pigmented resin, the work’s material stillness contrasts with its psychological motion. The head seems to drift through states of becoming, the profiles splitting and recombining like frames from a slowed-down film of selfhood in transition. Rather than presenting identity as a fixed category, Tosha renders it as an ongoing negotiation—an oscillation between external legibility and internal truth.
The piece’s intimate scale invites close viewing, collapsing the distance between the viewer and the shifting subject. The result is a sculptural portrait that refuses to settle. Tosha gestures toward the lived complexities of gender disalignment: the friction between social classification and the self that exceeds such categorization. Here, portraiture becomes a site of tension, not resolution.
With Disalignment Study (Head No. 1), Tosha positions his work within contemporary conversations about nonbinary subjectivity and the inadequacy of traditional representational frameworks. The sculpture neither declares nor resolves; instead, it opens a space where identity can remain fluid, layered, and in motion.
