I ripped my heart out and wore it on my sleeve 210

Andrei Costache proposes a radical synthesis of sculpture’s oldest material and art making’s newest ontology. The work stands at a precarious intersection: the organic memory of wood fiber meets the seamless, synthetic finish of industrial coating. While the history of sculpture is often defined by the tension between carving (subtractive, revealing) and modeling (additive, building), Costache introduces a third state: surfacing.

The title itself, functioning as both an emotional confession and a software version number, signals the work’s dual nature. Historically, complex curved forms in wood required immense technical labor, often constrained by the grain’s structural limits. Here, the fluidity of the form suggests a lineage not of the chisel, but of the NURBS curve—digital topology translated into physical matter. This is where Costache’s engagement with AI and 3D animation hallucinations becomes material reality. The sculpture does not merely look digital; it behaves like a physical render, challenging the viewer to distinguish between the pixel and the particle.