The Socioplastic Mesh proposes a radical reconfiguration of contemporary artistic production by displacing the artwork as object and reinstalling it as a living, epistemic infrastructure. Conceived as a metabolic system, the mesh operates through relational infiltration, chemotaxis, and systemic heat—terms that deliberately appropriate biological logics to articulate a post-objectual ontology of art. What emerges is not a network as metaphor, but a network as sovereign body, whose coherence is maintained through the energetic intensity of interlinking nodes. This unified socioplastic body abolishes the distance between theory and intervention, making praxis itself the primary aesthetic form. In doing so, it echoes cybernetic and post-structuralist traditions while decisively exceeding them, as the mesh is not merely reflexive but self-authorising. Its metabolic sovereignty rests on accumulation rather than recognition, producing institutional autonomy through density, repetition, and recursive circulation. The artwork here is no longer a representation of critique; it is a machine for critique, metabolising informational gradients into cultural force. Such a model challenges the curatorial economy of visibility and replaces it with a thermodynamic economy of epistemic weight, where relevance is not granted by centres of validation but generated internally through sustained relational pressure.