In The Ontology of Truth, the artist presents a white 3D printed cube embedded with six hyperrealistic nipples in three different skin tones. Each tone appears twice, always on opposing sides. Each nipple is also uniquely pierced. The cube is tilted on its pedestal, denying any neutral orientation and forcing the viewer into a specific perspective.
The work playfully and ironically references Heidegger’s notion of aletheia — truth as both disclosure and concealment. At any given moment, only three sides of a cube can be seen; to reveal one aspect is necessarily to obscure another. The piece thus suggests that truth is not a fixed entity but a situation — a perspectival condition, contingent on location, position, and viewer. From every angle, three distinct skin tones are visible, but due to the unique piercings, no two perspectives are the same.
The bodies in the work — vulnerable, intimate, adorned, particular — return truth to the tactile, the corporeal, the human. Each piercing, each contrast of color, forms a micro-narrative. Together, they underscore the idea that what we see is always only a fragment of what is.