Whilst seemingly poised at the intersection between figurative and abstract sculpture, Whirlwind in fact remains faithful to the Surrealist rejection of style, discontent with the categorization of objects. The basis of the work is a tiny volume of molten copper, solidified into a random shape by way of a chemical reaction with water. Through a precise digital scanning process, the lump of metal is then enlarged to create a giant rendering – finished in raw copper – of the original. This fabrication process removes any element of control the artist retains over the sculpture’s form, thereby enacting Andre Breton’s instruction in the manifesto of surrealism (1924) to dissolve, “all control exercised by reason, and all aesthetic and moral preoccupations”.
Whirlwind is the largest work in the series, entitled Type 1 Errors, which Hoda has made using this technique. Explaining: “I want my sculptures to appear to breathe, expand and contract like a human being or an animal”, his work investigates the external transposition of meaning onto objects. Here, the viewer is confronted with a forcefully emotive shape, which evokes simultaneously the gravitas of traditional sculptural forms, the weightless and transitory nature of the elements, and the ardent contortions of the body.