The stone imprints form a Voronoi pattern. Voronoi diagrams are a mathematical way to divide a surface in a crystalline pattern from random points. Every space inside the shapes is closer to one of the random points than to any other. You can create them by growing a circle around each random point until they intersect, and then you can draw a line between the intersecting points. I used an online random Voronoi generator to create mine.
The pattern appears in nature when mud is drying and cracking up, as well as in plants and animal life. It is also interesting because a three-dimensional Voronoi pattern, or foam, may describe the distribution of matter in the universe. If you place paint between two glass plates and then suddenly separate them, you see the pattern in the remains of paint on both sides. This is because when you separate the plates, the volume between the plates grows, and vacuum bubbles appear in it as the paint itself has trouble becoming thinner. The same happens when the universe expands. Matter sticks together because of gravity and nuclear forces, and the voids between them grow.

The title is Omega, after a parameter used in the calculations for the universe's expansion.
The average density of the universe determines its ultimate fate, whether it will eventually recollapse or expand forever. If the average density is a particular value, called the “critical density,” the boundary between these two scenarios will occur.
Astronomers often express the universe's density as a fraction of the critical density. The capital Greek letter (Omega) symbolizes this fraction.

So if (Omega) = 1, the universe is at equilibrium and has critical density.
If (Omega) < 1, then the universe is “open” and will expand forever.
If (Omega) > 1, then the universe is “closed” and will eventually re-collapse.

Speaking Stones is a compilation of paintings made with imprints of ordinary stones.

I see the stone as a metaphor for popular struggle and protest. It is the closest available weapon to the powerless. Throwing stones is a symbolic form of violence. The aim is not to overpower the opponent physically. It demonstrates defiance in the face of power by expressing concretely that the premises of the situation aren't acceptable. The stone speaks but not in a language open to negotiation or dialogue. A conversation means accepting the context in which it takes place and is thus always, to a certain degree, a form of submission. The language of stones is the language of mute matter. A form of silence that nevertheless speaks clearly and directly. The stone represents the resistance in itself from a place outside of language.

The stone is an entirely exchangeable and ordinary object that exists everywhere. At the same time, each stone is unique and has its own beauty and unfathomable mystery for anyone open to seeing it. This duality fascinates me. A stone is perhaps the closest we can get to a thing-in-itself, bound as we are to language. Sealed around itself, oblivious to the outside world. Simply existing. In a way, we can never truly understand. Infinite in its everydayness. Specific and concrete in its presence.

Res Ipsa is a compilation of works made by an act shaping the filler once it is prepared inside the frame. The works thus function as a recording device and give a statement of the event taking place while the filler was still wet.

Res Ipsa is Latin for "the thing itself" and is part of the juridical term "Res ipsa loquitur" (the thing speaks for itself), used when an injury or accident in itself clearly shows who is responsible, such as an instrument left inside a body after surgery.