Mnemonic Ouroboros
Artist Statement
Mnemonic Ouroboros traces the circular ways in which matter remembers. Through sculptural forms held in tension—compressed bodies, silent instruments, and concealed interiors—I explore how memory folds back into itself, storing what cannot be spoken. Each work becomes a loop of containment and release, a quiet system where pressure, absence, and resonance continually return to their point of origin. Rather than revealing, the sculptures invite viewers to sense what remains withheld, offering an encounter with the slow, recursive logic of memory.
— ZT Tosha
The Sound of What Cannot Sound
• Materials: Cymbal: approx. Ø 40–45 cm
Rope spheres: approx. Ø 4–5 cm each
Plinth: approx. 60 × 60 × 20 cm
Glass vitrine: approx. 70 × 70 × 60 cm
• Size : 52 × 90 × 25 cm
• Year : 2025
Enclosed within a glass vitrine, a polished bronze-colored cymbal rests in complete stillness, encircled by a field of small jute rope spheres painted in dense black oil. Known for transforming functional objects into mute instruments of contemplation, ZT Tosha here stages a quiet encounter between potential energy and its deliberate suppression.
The cymbal—an object designed for impact and resonance—becomes a silent relic, while the blackened rope forms act as absorbers, guards, or witnesses to an unspoken event. Through this inversion of purpose, the work reflects on resonance, restraint, and the sculptural power of silence. Tosha invites viewers to consider sound not as something produced, but as something withheld, held in tension, and preserved within the architecture of the vitrine.
Archive of Breath
• Materials: Copper, watercolor paper;
• Size : 52 × 90 × 25 cm
• Year : 2025
Inside a gleaming copper frame, a mass of rolled white watercolor sheets seems to breathe — expanding and collapsing in the viewer’s gaze. The cylinders, each slightly irregular, evoke both fragility and accumulation: a fragile archive of air, silence, or memory. The copper box, polished yet warm, becomes a vessel for containment — its interior glowing like a furnace for the intangible.
Black Monolith
• Materials: Oil paint on canvas; fragmented canvas pieces painted with oil and affixed to the surface; suspended black cloth.
• Size : 142 x 80 cm
• Year : 2025
Black Monolith (Study in Silence) presents itself as an act of restraint — a surface both mute and eloquent. Eighteen wooden panels are coated in thick, viscous black, their collective field interrupted only by a single folded cloth and the glimmer of texture beneath the darkness. What might first appear as minimalism soon reveals something denser: a meditation on the material weight of silence.
Nous
• Materials: Polished white limestone with oil-painted jute rope, enclosed in a glass vitrine.
• Size : 45 x 45 x 45 cm
• Year : 2025
Encased in lucidity, a polished white limestone block rests—bound, contained, impossibly still. At first glance, ZT Tosha’s Nous seems to echo the language of Minimalism: pure geometry, restrained materiality, immaculate display. Yet beneath its composure lies something more interior, almost devotional.
Melencolia
• Materials: Brushed aluminium, enclosed in a glass vitrine.
• Size : Approx. 40 × 90 × 50 cm
• Year : 2025
Encased in lucidity, a polished white limestone block rests—bound, contained, impossibly still. At first glance, ZT Tosha’s Nous seems to echo the language of Minimalism: pure geometry, restrained materiality, immaculate display. Yet beneath its composure lies something more interior, almost devotional.
Black Organon (Folded Pressure Study II)
• Materials: Black technical fabric,Internal sculptural armature,Small hard sculpted element,Black plinth,Illuminated glass and wood vitrine
• Size : 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.
Bundle of Origins (Study in Containment)
• Materials: Primary Forms:,Wrapping Material, Internal Structure,Base,Display Case.
• Size : Sculpture: Approx.
70–90 cm (H) × 60–75 cm (W) × 55–70 cm (D), Vitrine: Approx.
130–150 cm (H) × 110–130 cm (W) × 80–100 cm (D)
• Year : 2025
In “Bundle of Origins (Study in Containment)”, ZT Tosha continues his exploration of compressed volumes, psychological tension, and the fragile boundary between interiority and display. Inside a museum-like vitrine—an architectural gesture that immediately frames the work as specimen, relic, or secret—the sculpture presents a cluster of matte, pale spheres cinched tightly within a dark fabric shroud. The knot at the center is both a fastening and a wound, binding the forms together with a quiet, almost ritualistic force.
Veil of the Fold (Study for a Compressed Body)
• Materials: Synthetic textile,Matte sculpted composite,Internal armature,Black plinth,Wooden and glass vitrine
• Size : Approx. 60 × 40 × 35 cm
(enclosed in a vitrine roughly 90 × 60 × 60 cm)
• Year : 2025
In Veil of the Fold (Study for a Compressed Body), ZT Tosha continues his incisive investigation into the sculptural genealogy of pressure, concealment, and embodied memory. Encased within a museum-like vitrine, the work stages an uncanny tension between containment and emergence. A bulbous form—part soft mass, part armored carapace—swells beneath a sheath of black technical fabric. The surface gathers in puckers, folds, and seams, conjuring both the language of tailoring and the hermetic architectures of prosthetics.
Axis of Stillness
• Materials: woven canvas / jute fiber, white industrial bands (ribbons), fiber wrapping, painted plinth
• Size : ≈ 56 cm × 97 cm (L × D × H) — approx
• Year : 2025
A monumental capsule of woven fiber rests horizontally on a white plinth — a structure at once compressed and serene. The tension remains, yet in Axis of Stillness that tension has been internalized; it no longer strains outward but circulates within. The cylindrical form appears engineered rather than bound, its geometry clean, its containment absolute.
Tension Field
• Materials: woven canvas / jute fiber, white industrial bands (ribbons), fiber wrapping, painted plinth
• Size : ≈ 56 cm × 97 cm (L × D × H) — approx
• Year : 2025
A monumental cylindrical body of woven canvas and fiber, Tension Field is tightly wrapped and cinched by three white industrial bands that trace its length. The bands function as both structural armature and visual punctuation, mapping pressure into form. Resting on a low painted plinth, the work reads as a study of containment and latent energy — material under strain, held in provisional equilibrium.
A Contrarian View
• Materials: Jute rope (25 meters, 1 cm diameter), iron oxide pigment
• Size : Glass vitrine -cm 40,2 x 40,8 x 57 h
• Year : 2023
Christ is a study in material, form, and restraint. Using a 25-meter jute rope pigmented with iron oxide and coiled inside a clear glass vitrine, ZT Tosha transforms a simple industrial material into a focused sculptural presence.
The work relies on direct physical qualities: texture, weight, repetition, and the tight internal structure of the spiral. The jute’s coarse surface and the earthy pigment emphasize its everyday origins, while the vitrine frames the rope as an object of examination rather than reverence.
By choosing ordinary materials and presenting them with precision, Tosha draws attention to process and construction. The measured length of the rope, its compact coil, and the controlled display all contribute to a sense of deliberate, pared-down clarity. Christ is less about symbolism and more about what material can communicate when it is shaped, contained, and given space to be seen.
A Contrarian View
• Materials: Mixed media – Ultra HD-print / Oil on Canvas
• Size : Size : 56”x32″ | 142,2cm x 80 cm
• Year : 2023
ZT Tosha’s “A Contrarian View” is a striking and enigmatic work that bridges centuries of artistic tradition, drawing inspiration from the meticulous realism of Jan van Eyck and the radical abstraction of Kazimir Malevich. Through this synthesis, Tosha creates a visual and philosophical dialogue between two seemingly disparate artistic movements: the Renaissance and the early 20th-century avant-garde.
HD Signed Limited Adition Print
ZT Tosha
A high resolution signed limited edition print is worth a lot more than standard photograph poster stuck to a canvas. All ZT Tosha’s fine art prints are professionally produced to the finest archival standards. Each print is limited edition fine art print, created hand numbered and signed on the back area, (verso) by ZT Tosha.
