"Chelsea Motel" exhibition, August 2008

Scroll down for individual pieces

Click here to watch the video of the space

Collected Debris From the Wrong Drawings, (2007)
Bronze. Edition of 6
10 x 5 x 5 cm

This bronze piece is a cast of the agglomeration of the rubber bits, remaining debris from erasing the series Wrong drawings.  The result is what at first seems to be a rock, the cast becomes instantly familiar to the viewer. The story of the piece does not need to be told, as it is just enough to be the reason for its appearance.

List to be Continued…, (2008)
500 prints, 14,5 x 42 cm

A window piece, it needs light coming from behind the paper. The letters of the list are written backwards on a black background that slowly fades –to white, at the bottom of the page.
Through the transparency of the paper and the light you are able to read the words that appear almost as a appearance. The eye experiences a small adjustment before you read the words clearly and understand how it works. This time and movement highly interests me as it creates a moment of recognition, surprise and implies a slower tempo.
The fading towards white at the bottom of the pages slowly makes the reading impossible, because when the fade reaches the absolute white the white words become invisible. This graphic effect is a gimmick to the whole piece, in a response to the first word on the list: vanishing.

Mute & Others in Black, (2008)
Glass, anti-reflecting glass, wood, paint. Edition of 3
44 x 31,5 x 2,7 cm

The works are often thought of as games and the materials are treated as the characters. The materiality becomes the persona. The two A4 size sheets of glass –one is anti-reflecting and the other is standard glass are painted black from the back. Each glass performs in a very different way. In contrast the standard glass reflects, as we know how glass does, the crisp image of the space moves with us. While the anti-reflecting glass stays almost mute.
This movement activated by the viewer is associated with the constant change, the process that my work often feeds from.
When standing in front of them one reflects, the view goes forward; the other stays still. The movement that this two glasses show are important.

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Mute & Others, (2008)
Glass, anti-reflecting glass, wood. Edition of 3
44 x 31,5 x 2,7 cm

This two A4 size glass sheets –anti-reflecting and standard glass, work subtlety. They lay on the white wall simply. Is its material change that straight us. The piece relates to the wall and to the glass as a material as such.

The pare: “Mute & Others in Black” and “Mute & Others” are very clearly black and white pieces and they play on each characteristics of each correspondent colour. Both have they tonal images and become clearly independent to each other but at the same time they feed themselves and create a tension on the way that each piece relates/reflects to the space.

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Tactics, (2008)
Video, edition of 4
3 min 8 sec

The video Tactis shows a recording of another recording of a self-action. The recording of the original video works like a skin, the domestication (through the use of the low quality camera and the action of documenting something that had been already recorded as a mode of piracy). In consequence the video holds a conversation/relationship with itself.
If we look at both ‘videos’ separately. We have the first recording of myself where each object and its position in relation to the room has been meticulously chosen. The room itself its a place where there is a constant flow of water. The sound becomes protagonist. There is a ‘joke’ to the sound by recording the speaker (like a indicator). The same language has been repeated in the action of re-cording the video. The temperature of the piece has given the duration of the first video: while the wax is hot stay flexible, while it cools down it start breaking. The second recording (re-recording) has been edited as if censured, placing a black cardboard in front of the screen. The resulting black is not flat; it shows with a constant movement referencing the inside of the piece almost as if we were seeing the molecules.

Tactics (stage), (2008)
Wood, charcoal, wax, paint
63 x 47 x 26  cm

Tactics (stage) works in partnership with the video Tactics. Placed at the end of the entrance corridor, it sat on the floor almost as giving the back to the viewer. Once you would stand closer you’ll see that the plinth was set in a angle pointing back to the floor giving the same angle and point of view as when the camera was filming the video. The piece was placed in parallel to the video, this first point of view was then set to be ‘real’ while on the video you look straight –screen placed at eye level, but the camera filmed with an angle. Therefore the view becomes virtual but the viewer had experienced earlier.
The triangle shape also references the knee position that I’m adopting in the video and has one of the wax + charcoal piece that  are used in the video.
I understand this piece as a conversation with the video, it gives you a ‘reality’ feel of certain aspects of the video.

Untitled (collage with balloon + ceramic, newspaper + wood paper), (2008)
Ceramic, newspaper, balloon, plasticine
50 x 40 x 20  cm

A collage in 3D. Arrangement of multiple references to the other pieces in the exhibition. The piece on its own has a internal rhythm and holds each material with grace. Funny and light stays there on the floor in a circular energy. Wrapt up with paper like take away food.

Antictopus Tac, (2008)                                                
Wood, ceramic, paint, glass, water, oranges
110 x 135 x 90 cm

Antictanus Tac, (2008)                                                
Wood, ceramic, paint, orange
54 x 24 x 44 cm

The ceramics seem to be part of a process, a process that hasn’t been finished. We do not recognize the shapes or its function, but the familiarity comes from this sensation of production and failure. This process from where the ceramics seems to be part of can also be towards the decomposition, towards the disappearance –like meat would do.
The water element is present in different ways; the most obvious is the glass of water that is on top of the table but also the shape of the table has been cut out in a shape that reference the swimming pools –a space that contains water.
The glass of water is placed almost as by chance, again the quotidian appears. The labour of the making makes you thirsty, the placement of such an ‘icon’ can bee seen as a joke; although it also meets other purposes.
The tabletop has been burnt, the ceramics are under glazed which means that the materials are dry. They have an absence of water. The slickness, the shine and the glass of enclosed water was needed it to highlight the differentiation. The controlled water also contrasts with the freedom from where the ceramics seems to be coming from.
The colours chosen were taken from Philip Guston’s late paintings. The orange was the last remaining colour and so I placed the orange fruits, some of them in their mouths to keep them silent. masochism, cookery or as symbols -used in Chinese temples for the death, precious fruit in the old times, pearls. Why not then, the oranges also talk about the party balloons from the piece Untitled (collage with a balloon + a ceramic, a newspaper +a wood paper).