Orloski’s sculptural practice of the past four years challenges the rigid, seamless pairing between materials and objects. Through a sculptural process of molding materials into the unexpected, unmatching forms of daily objects, and via recomposing disposable things with enduring materials, Orloski casts an existential inquiry into material, substance, and the objective form. Oftentimes, his work bends materials into self-contradiction and self-reflection. At the center of each sculptural work, there is an aesthetic tension between the physical properties of used material and the aesthetic tendency, the contextual and utilitarian expectation associated with an object.

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Orloski’s practice treats the objects symbolic of the 20th century as a mutual vessel for memorizing in which individuals store their respective memory in hedged but connected cocoons. By separating the objects from materials they are usually seen in and remolding them with materials that are raw, archaic and heavy, with industrial materials that have proven to stand the test of time, Orloski attempts at an effect reverse to what we usually seen in art: he trades present to history, immediacy for remoteness. In the deep gorge carved by the discrepancy between material and objects, there resonates a fossilized memory of everyday life.

Orloski’s conceptualization of his sculptures is also heavily imbued with literal and linguistic metaphors. Language, in this regard, is a beautifully apt metaphor he employs to summarize his understanding of materials.  

Language has its own reservoir of vocabularies which gives birth to all the ifinity and infinity; and language also has its time, its history which in turn modifies its meaning and poetics. It is in this sense that Orloski reads the language of materials and tries to evoke historical, anthropological, and archaeological lineage of a material in his sculptures.