Initiated in 2015, The Sculptures of Touch is an ongoing research-based artistic practice. It advances a central proposition: When the human body becomes the medium, the archive itself changes.

In the digital age, historical preservation is often equated with precision and objectivity. This project follows another path. Rather than producing high-resolution reconstructions of political ruins, it employs the body as a perceptual and translational instrument.

The body is not neutral. It chooses, pauses, hesitates. The direction, duration, and intensity of touch are themselves inscriptions of affect.

Motion capture does not record the geometry of objects; it records how a body responds to them. Data becomes the trace of selection. The resulting sculptures are not replicas of structures of power—they are condensed volumes of contact, spatializations of emotional choice.

• The human becomes the medium.
• Touch becomes the archive.
• Selection becomes affect.

The project does not aim to precisely or objectively document historical ruins. It preserves the choices a body makes in the presence of history.

Since 2015, the work has continued to evolve through iterative exhibitions and research phases. Each iteration reconsiders how embodiment can function as a vessel of memory.

Future phases may extend this methodology across political sites worldwide, forming a transnational tactile archive composed not of measurements, but of human decisions.

In a data-driven era, the project proposes another possibility: History need not be precisely reproduced. It can be carried by the human body.