God Is Human is a large-scale sculptural installation born from an exploration of philosophy, humanism, and posthumanist thought. The work emerged from a search for answers to questions surrounding what it means to be human, how individuals can contribute positively to society, and how humanity should navigate a world that has been so extensively shaped by its own actions. As I reflected on the state of our planet, our social structures, and our collective future, feelings of concern, frustration, and responsibility began to surface. Seeking someone to blame for the challenges facing humanity inevitably led me back to humanity itself.
What fascinated me most was the extraordinary power that human beings possess. We have transformed landscapes, built civilisations, developed technologies capable of reshaping entire ecosystems, and continuously reconstructed the world according to our ambitions and desires. This ability to create is remarkable, yet it exists alongside an equally powerful capacity to destroy. The same intelligence, determination, and ingenuity that allow us to build can also be used carelessly, often with consequences that extend far beyond ourselves.
God Is Human serves as a meditation on this duality. It is both a tribute to and a critique of humanity’s immense influence. The title intentionally provokes reflection by questioning where power truly resides. Rather than referring to a divine being, it points towards the god-like authority humans frequently exercise over the world around them. Through our collective actions, we shape environments, societies, cultures, and even the future of life itself.
Standing approximately 3.3 metres tall, the sculpture resembles the hollow outer shell of a dead tree that continues to stand despite its apparent decay. Its form evokes both resilience and vulnerability, suggesting a structure that has survived immense forces while remaining marked by them. The exterior is constructed from linen sheets dipped in latex and stitched together using metal wire, creating a surface reminiscent of scarred human skin. These visible seams reference healing, survival, and the traces left behind by struggle.
In contrast, the interior glows with a reflective golden surface that invites viewers to step inside. Constructed from emergency survival blankets, the inner chamber envelops the body in warmth and reflected light, transforming the sculpture into a protective space. This material choice speaks to endurance, adaptability, and the instinct to survive, qualities that have enabled humanity to persist through countless challenges.
By inviting viewers into its interior, the work creates a physical encounter with the very force it seeks to examine. The sculpture acknowledges humanity’s capacity for both creation and destruction while encouraging self-awareness and personal responsibility. Its controversial title is not intended as a declaration but as a question: what should we do with the extraordinary power we possess?
Ultimately, God Is Human is a reminder that every society, system, achievement, and failure is the result of countless human actions. The world we inherit and the world we leave behind are shaped not by distant forces alone, but by the collective choices of individuals. The work asks viewers to consider their own role within that process and to reflect on how such power might be exercised with greater care, responsibility, and compassion.