I sense enormous and see monstrous (sculpting part 2)

In my early youth I came across a drawing of the sensory homunculus. The human body spread around the brain, in rapport to its representation in the senses.  
Very often after that, when looking at a statue, I was seeing, superimposed on the volumes, an allegoric Homunculus: real body proportions (fingers for instance) were not what the brain considered accurate. Or maybe, because other parts are so much represented in the brain, they don't need to be larger in volume. 
That swing, between how out bodies look on the outside and how the brain figures us on the inside, continues to make me dizzy to this day. But dizzy is alluring. 

I wish I worked (sculptures, paintings) as my dizzy imagination perceives the world in my quiet moments. But that would translate into a language that made very little sense to other people. I sense enormous and see monstrous – sentence that works only as a koan. 

When someone identifies a body part (or whole body) in my sculpture, it is only because I try to simplify my intention, translate a sense I have into a somehow recognizable form. 
 
I try hard to shift the view entirely from the “story” that the statue might tell, to the material in which my sense hardens. It’s not the story by itself, the weight, colours, angles, contours, all should melt and make the viewer dizzy; then some communication could happen. 
 
Abstract the surface of the sculpture, but do it your own way! It doesn’t represent a muscle, a fabric, hair or nails. All there is a decoy. As I wrote in my sculpture blog entry 1, when I work, I sometimes manage to enter a head space where calm predominates, my true holidays away from norms. Trying to make you dizzy with my work, is trying to blink a head-space where you can get a taste of that, without paying to go to a spa,  taking mushrooms or smoking pot. My work is far from that, even abstract Pollock and Rothko works much better. That was their language, this is mine. You don't need to be Pollock or me, a little work of watching and floating in your head space created by Art, is what makes you an artist.  
I bring back the koan “a tree falling in a forest where nobody is there to witness, does it make a sound?” Art without an artistic public, is it more than paint on a canvas?