KMVH's practice began after a series of traumas in which language fractured and the 'old self' was stripped away. The first space that made it possible to breathe again was the ocean: it offered recognition. In the presence of the ocean, the feelings of loss, emptiness, and dissolution were reflected back. That reflection and recognition was the beginning of what this practice investigates.

Central to this investigation is Sigmund Freud's concept of the Oceanic Feeling: a sensation of eternity, and of being one with the external world as a whole. Freud dismissed this experience as a regressive illusion and the residue of an infantile form of consciousness. KMVH's practice proposes a counter-reading: the dissolution of self-boundaries before the ocean becomes a philosophical mode of undoing. And this as a necessary annihilation of the fabricated self, built as a defence after trauma has fractured the self's core. The Oceanic Feeling was a return to the pre-constructed self.

The works engage critically with the tradition of the sublime. Following Friedrich Schiller's understanding, the sublime is a product of intensification. This is what Schiller called 'energetic beauty', in which the soul is disturbed and thereby occasioned to produce harmony. The ocean creates a space in which dissolution and belonging coexist; in which sensuous and rational powers operate without constraint.

Working with charcoal and acrylic on canvas and wood, the process is both meditative and intensely physical. Charcoal resists obedience; it stains the hand and erases the carefully calculated plan. Each work begins with structure and ends in absolute dissolution, enacting what Walter Benjamin describes as a rupture in the cycle of mythic justification: a threshold between control and surrender. Drawing on Derrida's concept of différance, each work operates through repetition and deferral; the same sea reappears, yet never the same as before. Meaning becomes visible through what cannot be fixed.

These works do not seek to resolve the tension between selfhood and dissolution. They ask what remains when the self is stripped of its rational order and reflected in the turbulent movement of water. They ask whether the loss of self-boundary constitutes a crisis or a threshold, and whether, within that fragility, the possibility of recognition can emerge. The ocean offers recognition: in this violent world, the self can dissolve and still exist.