I let it fall
Celluloid like water
Time falling
My voice forming in the fall
between bodies
Pleasure not held
only shared
then gone
I build this installation from celluloid, letting it fall and gather like water. The material is fragile, sensitive to light and heat, already changing as it hangs. What looks fluid is fixed and what feels continuous is slowly breaking down. I'm drawn to this tension, to the moment where something appears alive while moving toward disappearance.
I'm not trying to capture time, but to stay with it as it passes. The waterfall never arrives anywhere; it only falls. Within this ongoing movement, my voice is quiet and porous. It doesn't stand apart, but forms through closeness, through sharing space, sound and duration with others who enter the work. The pleasure I'm interested in isn't immediate or complete. It unfolds slowly, through attention and shared presence, through the awareness that what we're experiencing togehter cannat last. In a culture that insists on constant enjoyment, I want to make room for a different kind of pleasure, one that is collective, fragile and deeply ephemeral.
Here, pleasure isn't something to consume or take away. It circulates between bodies, material and time. The waterfall becomes a place to linger, to notice one another and to feel how intimacy can emerge briefly, fiercely and then dissolve.
Waferwall
at Inabstracto on Queen Street West, Toronto
No one who has never eaten a food to excess has ever really experienced it, or fully exposed himself to it. Unless you do this, you at best enjoy it, but never come to lust after it, or make the acquaintance of that diversion from the straight and narrow road of the appetite which leads to the primeval forest of greed. For in gluttony thwo things coincide: the boundlessness of desire and the uniformity of the food that sates it. Gourmandizing means above all to devour one thing to the last crumb. (Walter Benjamin, fresh figs)
using consumer forms for new visual vocabulary (depth, line, pattern, colour, haptics) my work is pulled far away from traditional artistic media in its approach. my artwork commonly includes text, image, confectionery and series-produced objects of everyday use, commodities, primarily however edible things, which enable a direct link to be made with the assuaging of a craving, especially when craving turns out to be uncontrolled and by its very nature unassaugeable.
Marshmallow tobogganing on
Queen Street
..then I thought, well, pour some thing over it to cover the traces of your mind and of your thought. so I poured sour milk over these objects. this is the way I found out that sour milk could give me satisfaction.
Cloth peg Sculpture
at
Byrd House Gallery
by Inabstracto
in Baltimore, CA
the Black Square at the Rialto bridge at the Dujardin Berlin
I am not seeking to shock or make people laugh. Knitting, not dismanteling the incunabulum of the abstraction, recreating the black square with black licorice does no longer mean imitating realities, telling stories or using perspectives. It means creating a void, a void to knit in by seeking a new form of expression. sensing, gourmandizing my work rather than understanding it. The black square became the starting point for liberating art, It is not an act of Iconoclasm, not breaking down the visible world. It is about going beyond. No longer representing things, but transcending them.
das schwarze Quadrat
(hylé - techné - craquelée oder die empfindung der gegenstandslosigkeit)
NUN - die Kunst der Stunde. Berlin
the Black Square
(hylé - techné - craquelée or the perception of abstraction)
Druckversion 