The process-driven paintings and sculptures of Gino Henry José (born in 2004) are grounded in the idea that personal experience is not a stable or objective phenomenon, but something continuously shaped by internal, often intangible forces. His works function as material environments in which belief, time, memory, and inner constitution are allowed to act upon matter itself.

With this framework, his practice remains open, even as certain works engage more directly with contexts such as trauma, religion, spiritual ideologies, and grief. Drawing on reflections rooted in lived experience and on his engagement with the beliefs and experiences of those around him, the artist allows these contexts to enter the work through observation, conversation and intuitive response, transforming them through material processes rather than direct representation.

Guided by a detail-oriented attention to texture, he works with materials such as ink, resin, and oxidized metals to construct conditions in which transformation, erosion, and chemical change become visible agents within the work. These processes unfold gradually and unpredictably, embedding traces of time and instability into the material surface, reminiscent of experiences hardened into memory. The resulting forms appear less as finished objects and more as remnants that seem to be uncovered rather than produced.

His paintings and sculptures operate as artefacts of lived experience. Through their organic evolution and ambiguous temporality, the works invite viewers to reflect on the fragility and partiality of human understanding, and on the ways in which perception is continuously expanding rather than fixed.