Christ
• 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
ZT Tosha’s Christ presents a philosophy of consciousness realized through material tension. The act of placing raw, unprocessed jute within a pristine vitrine—a form evocative of a reliquary—dissolves the boundary between the devotional and the everyday.
The rope’s coiled geometry is a spiritual spiral, mapping humanity’s contemplative ascent. Following its turn inward, from its iron-oxide-stained surface (reminiscent of earth and body) toward its silent center, becomes an act of shared, meditative focus. It suggests that sacred awareness is not separate from the self, but found in the conscious journey through the tangible.
Here, the humble material, bearing the memory of labor, is the vessel. The work becomes a unified field of perception—a silent equation where the physical coil and the metaphysical converge, locating the sublime within the focused act of human attention.
Encasement (Double Ring)
Encasement (Double Ring) presents two concentric loops of jute rope sealed within a continuous rubber skin. The work stages a quiet contradiction between softness and control: a pliant, fibrous core immobilized by an industrial exterior. The circles do not touch, yet their proximity establishes a taut relational field, a geometry held together by distance rather than contact.
The use of rubber functions less as surface than as condition. It arrests fraying, suspends entropy, and fixes the rope in a state of permanent readiness. What would normally flex, knot, or yield is instead compelled into perfect recurrence. The circles read simultaneously as units and as a system, neither progressing nor collapsing, but maintaining equilibrium through repetition.
Installed flat against the wall, the work resists illusionism and depth, offering instead a measured insistence on containment. The piece does not propose movement, narrative, or resolution. It holds.
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.
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.
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.
