This ongoing body of work explores poetry as an encrypted object. Drawing inspiration from the Trifid cipher developed by Félix Delastelle at the beginning of the 20th century, each poem is transformed into a sculptural form generated through its own internal structure. Rather than describing or illustrating language, these works abstract it, treating words as spatial data and allowing meaning to emerge through geometry and color. Each sculpture is generated from a poem using a modified Trifid cipher. A unique seed phrase and key determine the spatial coordinates of every letter, while each word is assigned a deterministic color generated from a hash of its encoded value, position within the poem, and total word count.

The resulting forms exist between writing, architecture, and artifact. They are simultaneously records of a text and objects that resist immediate legibility. Each poem exists in multiple states: the written text, the three dimensional sculpture, and the .json file that contains the information to generate both of the others. As this work continues, further states of being will be established for each of these pieces.

This investigation is rooted in the long history of clandestine communication. Throughout periods of censorship, occupation, and political violence, communities have continually devised new methods of encoding knowledge, preserving memory, and transmitting ideas beyond the reach of surveillance. Encryption has never been solely a technical exercise. It has also been a cultural and artistic act, a means of protecting identity, sustaining solidarity, and imagining futures that could not yet be spoken aloud.

By borrowing from the logic of cryptographic systems while refusing their conventional goal of secrecy alone, these sculptures position abstraction itself as a communicative strategy. They propose that opacity can be generative rather than exclusionary, allowing meaning to circulate in ways that evade simple extraction or control. In an era increasingly defined by algorithmic interpretation, ubiquitous data collection, and automated systems of surveillance, the capacity to communicate obliquely becomes both an aesthetic and political gesture.