I work with silver as a medium for cultural memory. Each piece begins as raw metal and ends as an object that carries the weight of lineage — the patterns of Mongolian nomadic armor, the geometry of Buddhist mandala, the marks left by a hand that learned to forge in the tradition of ancestors.
I trained in Mongolia under silversmiths whose techniques have survived centuries of displacement, migration, and modernization. What I learned there was not only a craft but a way of thinking about material — silver not as decoration but as language, a way of encoding identity, protection, and belonging into something you carry on your body.
My practice extends beyond the physical object. Through cinematic process films — which have reached over 60 million viewers — I document the full arc of creation: the melting, the hammering, the patient filing. These films are not tutorials. They are meditations on the act of making, on what happens when an ancient process meets a contemporary audience.
The work has been commissioned by the Rubin Museum of Art in New York City and covered by Harper's Bazaar Brazil, South China Morning Post, and My Modern Met. I operate between Europe and Asia, working from wherever I can set up a forge, a camera, and a flame.
Under my brand Shuwuu — a Mongolian word meaning a sign of homecoming — I create sculptural silver pieces and wearable works that exist at the border between art object and adornment. Each is hand-forged, one at a time.