ZT Tosha
OPUS: THE ASSEMBLER
ARTWORKS Installation · Sculpture · Mixed Media · Painting · 2020–2026
Form Between Force and Containment
All works in OPUS: THE ASSEMBLER are realised site-specifically. Dimensions given are approximate and are proportionally adjusted to the architecture of each host venue. Each realisation is unique.
001
Wingspan (IV)
Materials · Black fabric, steel cable, tension, memory · Approx. 400 × 280 × 80 cm · 2025
Wingspan (IV) is the most immediately iconic work in the cycle. Suspended from a single cable, black fabric extends laterally into two sweeping arcs, gathered at a central knot that functions simultaneously as spine, fulcrum, and wound. The backlit wall transforms the work into near-silhouette, collapsing its materiality into pure form. What reads as flight is equally arrest — a body caught at the precise moment between ascent and fall. Of all the works in OPUS: THE ASSEMBLER, Wingspan (IV) most directly inhabits the human figure without representing it.
002
Meridian (V)
Materials · Black fabric, steel cable, tension, memory · Approx. 400 × 280 × 80 cm · 2025
Meridian (V) claims the floor as its territory. A perfect disc of black fabric radiates outward from a dense central knot, its pleated surface mapping force as geometry. The work demands to be experienced from above as much as from the side, requiring the viewer’s full spatial awareness. Where the suspended works in the cycle negotiate gravity through resistance, Meridian (V) surrenders to it entirely, becoming a field rather than a figure. The knot at its centre functions as an axis — a point of origin from which all tension flows and to which it inevitably returns.
003
Flame (VI)
Materials · Black fabric, steel cable, tension, memory · Approx. 320 × 90 × 90 cm · 2025
Flame (VI) is the most vertical and architecturally resolved work in the cycle. Suspended from above, black fabric tapers upward to a sharp point while a dense knot cinches the form at its midpoint, separating ascent from descent. Below the knot, fabric pools at the floor in a slow, inevitable collapse. The work holds two opposing movements simultaneously — the upward thrust of the gathered peak and the downward surrender of the base — making visible the tension between aspiration and gravity that runs as an undercurrent through the entire cycle.
004
Vessel (VII)
Materials · Black fabric, steel cable, tension, memory · Approx. 480 × 200 × 300 cm · 2026
Vessel (VII) occupies space differently from any other work in the cycle. Black fabric is stretched between three fixed points near the ceiling, converging at a central knot that descends low, almost grazing the floor. The resulting form — taut and geometric above, dense and knotted below — suggests simultaneously a vessel, a net, and a trap. The shadows cast across the floor and walls become a secondary work in their own right, a drawing made entirely by tension and light. Of all the works in OPUS: THE ASSEMBLER, Vessel (VII) most completely transforms the room itself into a component of the work.
005
Witness (VIII)
Materials · Black fabric, steel cable, tension, memory · Approx. 160 × 120 × 120 cm · 2025
Witness (VIII) is the most psychologically charged work in the cycle. Black fabric gathers into a seated, hooded form — dense, self-contained, and unmistakably human in posture without depicting the human figure. A single compressed knot marks the point where the fabric turns inward, suggesting a body folding into itself. The work is experienced above all as presence: something that neither moves nor speaks, yet cannot be ignored or passed without acknowledgement. Among the suspended and spread works of OPUS: THE ASSEMBLER, Witness (VIII) is the still point — the work that stays with the viewer long after the room has been left.
006
Eclipse (IX)
Materials · Black fabric, steel cable, tension, memory · Two elements · Approx. 180 × 160 × 60 cm (wall) · 200 × 200 × 20 cm (floor) · 2026
Eclipse (IX) is the only work in the cycle to occupy two registers simultaneously. A wall-mounted disc of gathered black fabric — dense, knotted, turned inward — hangs directly above its floor-based counterpart: an open, spreading circle of the same material below. Neither element is complete without the other, and the space between them — the gap of air, light, and shadow — is as much a part of the work as the fabric itself. Eclipse (IX) directly echoes the two-room logic of Collapse (I) / Spread (II), but compresses that spatial argument into a single vertical axis. What the wall holds, the floor releases.
007
Threshold (X)
Materials · Black fabric, steel cable, tension, memory · Approx. 400 × 350 × 80 cm · 2025
Threshold (X) is the most architecturally conceived work in the cycle. Two vertical columns of black fabric flank a central suspended knot that descends into a weighted teardrop form, creating a symmetrical portal of absolute frontality. The negative space framed between the columns — the white wall visible beyond — becomes the most charged element in the room. The viewer stands before it as before a doorway, but the doorway leads nowhere except into absence. Of all the works in OPUS: THE ASSEMBLER, Threshold (X) is the most explicitly sacred in its spatial logic — an altarpiece built from tension and void.
008
Trinity (XI)
Materials · Black fabric, steel cable, tension, memory · Approx. 500 × 300 × 200 cm · 2026
Trinity (XI) is the most compositionally complex work in the cycle. Three separate elements occupy the same space — a floor-based cone rising to a sharp point, a suspended knotted teardrop hanging from a steel cable, and a vertical wall drape — each operating independently yet in deliberate conversation. No single element dominates. Each has its own weight, its own spatial logic, its own relationship to gravity. Together they create a field of tension that the viewer must navigate physically, moving between the three presences to understand the whole.
009
Chalice (XII)
Materials · Black fabric, steel cable, tension, memory · Approx. 380 × 320 × 60 cm · 2025
Chalice (XII) is among the most immediately readable works in the cycle. Black fabric is suspended from a horizontal rail and gathered at a central sphere, creating two sweeping arcs that descend symmetrically to the floor. The form is simultaneously a chalice, a figure with open arms, and an offering. The central sphere — dense, compressed, gathered — functions as the fulcrum around which all movement is organised. Where other works in the cycle hold tension through complexity, Chalice (XII) achieves it through perfect bilateral symmetry.
010
Deviation (XIII)
Materials · Black fabric, steel cable, tension, memory · Approx. 420 × 300 × 100 cm · 2026
Deviation (XIII) begins as order and ends as disruption. Three fabric elements hang from a single horizontal rail — two straight vertical columns flanking a central suspended knot — but the left column breaks the logic, billowing away from the wall in a single unresolved movement. That deviation is the work. It introduces asymmetry into what would otherwise be pure architectural stillness, suggesting that no system of containment is ever fully stable — that something always escapes, shifts, refuses to hold its assigned position.
011
Confrontation (XIV)
Materials · Black fabric, steel cable, tension, memory · Approx. 450 × 380 × 200 cm · 2025
Confrontation (XIV) is the most compositionally aggressive work in the cycle. Two elements occupy the same space in deliberate opposition — a dense, knotted mound of black fabric crouches on the floor while a horizontal pole, bound at one end with gathered fabric and trailing a vertical drape at the other, cuts across the room at ceiling height. Neither element acknowledges the other, yet the tension between them is absolute. The work introduces narrative into a cycle that otherwise refuses it — something has happened here, or is about to. Of all the works in OPUS: THE ASSEMBLER, Confrontation (XIV) is the most physically unsettling to inhabit.
012
Mutation (XV)
Materials · Black fabric, steel cable, tension, memory · Approx. 500 × 180 × 250 cm · 2025
Mutation (XV) is the most physically impossible-looking work in the cycle. Black fabric descends from a vertical anchor on the left — gathered, knotted, pooling at the floor — before extending horizontally to the right in a swelling, bulging mass that defies gravity and anatomical logic. The form is simultaneously intestinal, creaturely, and architectural. It reads as something arrested mid-transformation — neither what it was nor what it is becoming. Where other works in the cycle hold tension in stillness, Mutation (XV) holds it in the suspended moment of metamorphosis.
013
Descent (XVI)
Materials · Black fabric, steel cable, tension, memory · Approx. 420 × 380 × 200 cm · 2024
Descent (XVI) emerges directly from ZT Tosha’s painted and assembled works, translating the layered forces of the two-dimensional surface into three-dimensional space. Black fabric is suspended from a curved ceiling rail, gathering at a central knotted sphere before descending in a sweeping serpentine arc that pools on the floor. The curved rail itself becomes part of the work — not infrastructure but argument, echoing the arcing movements of the fabric below. The work reads simultaneously as a figure in prostration and a force in freefall, caught at the precise moment before impact.
014
Cradle (XVII)
Materials · Black fabric, steel cable, tension, memory · Approx. 450 × 280 × 120 cm · 2024
Cradle (XVII) is among the most formally pure works in the cycle. Black fabric is suspended from a single steel cable, gathering at a central knot that hangs low between two sweeping arcs. The form is absolute — a valley, a vessel, a held breath. The shadow cast on the floor below doubles the work, creating a ghost image that extends the piece beyond its physical boundaries. Where other works in the cycle hold tension through complexity, Cradle (XVII) holds it through reduction. Everything unnecessary has been removed. What remains is the irreducible argument of weight, suspension, and the knot that holds it all together.
015
Ascent
Materials · Black military-grade textile, steel armature· Approx. 160 × 35 cm · Dimensions variable · 2024
A cylinder rising into a cone, wrapped in a single diagonal fold of fabric that spirals along its entire height. Vertical, restrained, disciplined. Geometry is maintained without compromise.
016
Junction
Materials · Black military-grade textile, steel armature · Approx. 80 × 70 cm · Dimensions variable · 2024
Cone base from which two cylinders erupt in a locked Y-form, compressed at the point of connection. Geometry under maximum tension.
017
Convergence
Materials · Black stretch fabric, internal construction · Dimensions: Approx. 200 × 180 cm · Dimensions variable· 2025
Three cones pressed together, fabric stretching taut between them, gathering and radiating at each point of contact. Monumental scale. The pressure between forms is the subject.
018
Strata
Materials · Black military-grade textile, steel armature · Dimensions: Approx. 90 × 50 cm · Dimensions variable · 2024
Layers of fabric folded into a perfect prism above; below, the same material collapses into formlessness. Order and dissolution present simultaneously in a single object. The hinge work of the entire cycle.
019
Totem
Materials · Black stretch fabric, internal construction · Dimensions: Approx. 200 × 180 cm · Dimensions variable· 2025
Cubes stacked vertically, each rotated slightly from the one below, creating a sustained torque through the full height. Monumental. Freestanding.
020
Ziggurat
Materials · Black military-grade textile, steel armature · Dimensions: Approx. 160 × 120 cm · Dimensions variable · 2024
Description: Cubes stepping inward as they rise — the form of the ancient ziggurat, the oldest human impulse to impose geometric order on matter. Large scale. Floor-based.
Acquisitions & Inquiries
For acquisition inquiries, exhibition proposals, or institutional loans, please get in touch directly.
