August 12, 2006
August 12, 2006
August 12, 2006
August 12, 2006
August 12, 2006
The drawings are not aiming at any reliable representation of what science suggests is happening at a particle-level of physics. The themes that are trigging my fantasy are the stages of development in the movements from the first signs of patterns up to the precious instant of their fulfilment and then the following process of decay, all the way to total entropy, where no pattern or order is recognisable. Especially intriguing are the processes of crystallisation of different liquids. How it starts from zero and where the whole system suddenly seems to have accumulated enough energy to develop its special pattern. I am aware of time and space as factors that have to be represented within the limited area that the drawing occupies. But time will have to slow down at this level as well as the space has to be coded to infinite, even if I think of these factors as pure human inventions with no references to nature itself. The images that I produce are also inventions with no other than human concepts as foundation, including the concepts of beauty and harmony inherited from generations before us, deriving from our reflections in contact with nature and the desire to understand our own place within. I like the thrill of observing the elements on the limit of disequilibria, the suspense just before collapse, where a fragile stability still holds the structures together. I do not want to prolong these precious moments for fear of disorder; my curiosity takes the whole process as motive.
In sculpture, however, the element of space becomes the main theme but the question of describing a mass has no actuality as I am only drawing the outlines of forms. The forms are transparent and seem to float weightless in the area where they are installed. The reality of space becomes evident as the iron rods create limited and tangible objects and we have no other meaningful way to describe them than by using measures that symbolize the distances between their borders. So space is potentially present, but the notion of time is still turned down low. The objects are not moving in space, or at least they are holding back the factor of time. Although I have given names to some of my sculptures, these do not give opportunity for long rows of uncontrollable associations. The object itself is catching in a way that does not favour travelling thoughts.
In my installations the relations between the building elements become the main purpose and reason. Pieces of plywood, metal, glass and cardboard are forming open structures that correspond with their surroundings so that one cannot say that they are grouped as isolated systems but belong to a larger common engagement. The installations are short-lived and have a more direct way to communicate because you have to be there at the right moment. They covey a direct message of immanent change and fragility that demand your attention now. The digital electronic media gives me the opportunity to participate on a larger scale through the distribution of photographic registration and documenting my frequent exercises on the Internet.
