‘If Burkhard Heim Suspects That One Shouldn’t Fly But Fall, He May Prove Right’
200cm x 200cm, mixed media installation (paper, resin, glass, beeswax, wax, sponge, rock, rubber, steel, magnets, marble, yarn, etc.) with nails, on a pencil-drawn grid, 2016
A field of equidistant nails on the wall provides an armature for constructive athletics. The make-up of the grid, i.e., the nails, at once creates an opportunity and a hurdle. Its bureaucratic system is subverted by playful actions that transgress the austerity of its blueprint. The structure that permeates the architecture of the space functions as a register and an archive. It allows for the transfer of content accumulated over time from a horizontal plane (e.g., a table top or a shelf) to a vertical one. The grid as a method concerns the placement and displacement of forms and ideas, their temporal existence as propositions, and the transient and nomadic nature of their existence. Through this migration the objects are reconfigured to suggest a new order of things. Tension between opposite forces generated within the grid activates the work, which then becomes an idea of life. This new picture that hinges on a number of balancing acts brings up the possibility of an alternative world.
153cm x 153cm, mixed media drawing (ink, pencil, collage, etc.) on paper, 2016153cm x 153cm, mixed media drawing (ink, pencil, collage, etc.) on paper, 2016
In principle ‘Nest’ follows ‘If Burkhard Heim Suspects That One Shouldn’t Fly But Fall, He May Prove Right’, and proposes another form of ‘grid’ structure comprised of circular motifs. Shapes and marks, which seem to pile up, are placed in, on, and above printed and drawn circles. Populated through coordinated operations of filling, placing, fitting and stacking, this structure is poised between reality and illusion. In this organization, matter-of-factness of an area defined by its circumference, or the weight of heavily applied lead is set against an illusive space drawn in pencil or ink, or the presumed heft of a dark mark gravitating towards the bottom. Therefore as a schema, ‘Nest’ concerns juxtapositions, and the synchronicity of different modes of painting: material investigations, mark-making, and representation.