Sculptural monumentality was brought into question by deconstruction procedures, which is why Korkuts´ works point to the meanings that were moved from their actual reality. The classical sculptor’s order in this cyclus is radically evolved, reflecting the new meaning of the form. In the cycle of Ego-trip, all elements of artistic expression are consistently directed to self.
His works, made up of several different segments – video projection, sculptural plastics and emphasis on a process – become a metaphor of human identity. The Ego-trip cycle is, by its elaborately designed structure, the basis of the other artistic practices that will emerge later. And while the putting his own clay portrait into a glass tank full of water in the work “Memento mori” (2001) presented the final stage of the process of disintegration, this work at the same time was the starting point for many other reflections that will develop later in his art practise.