The work is created in a two-stage process. First, a small amount of molten copper is poured into water causing it to react and solidify. The small, abstracted form is then digitally scanned and enlarged before being finished with a raw copper surface via the process of thermal arc welding. In pouring the copper into water, the artist forfeits his control over the metal’s final shape, thus absolving himself as author. In this respect Hoda enacts his own version of the surrealist tenet of automatism, 'dissolving all control exercised by reason', to quote Andre Breton.

 

The process of enlargement transforms the maquette from a haphazard trinket into a sculpture of interlocking bulbous shapes. The viewer is confronted with a number of suggestions or references - from twisting limbs to screaming mouths and sexual organs. The muscular forms reminiscent of the Renaissance can be found coexisting with a world of sci-fi explosions, sexual and violent energy infused with Baroque grace whilst recalling a surrealist agenda, one that is summed up by Max Ernst's desire for 'the viewer to witness the emergence of the work'; what the viewer's sub- conscious brings to the sculpture ultimately determines its reading.