Nullified by 60
My Lover The Matador
Paintings and Others
7 Drawings, 70 xerox-printed iPhone photographs, 1 xerox-printed analog photograph, 80 digital-printed iPhone photographs, masking tape, magnets, stainless steel cones, cardboard boxes (three approx. 30X40cm, eleven approx. 20X30cm) and painting stretchers (Two 70cm, three 100cm, one 110cm, one 120cm, two 140cm, four 170cm).
Drawings and photographs depicting the same things in slight variations, from different angles, attached to stretcher-bars or situated between them, raised higher than them. They are arranged in straight rows of varying lengths, all starting from a fixed axis.
Performing a Counterpoint of z, x and y; each unit contains all the information of all the others. They are linked together, spreading into one another, infectious, hiding in one another. If their composition is momentary, it might drift towards actuality: the works then become an earthly system of mass-produced figures, full of mystery, playing with you, the viewer, deceiving you. At the center of a drawing that purports to be spatial, static ‘figures’ are positioned in ‘real’ spaces—a space that is positioned in the absence of space. Drawings with no floor, no ceiling, no orientation, only a position between and in relation to field lines. Meager photographs adjust themselves to the non-existent space, confining themselves to imaginary lines. Again and again they are chasing you, fleeing from you. They, the works, appoint you, the viewer, to be their detective, to be their mourner, and you are pointing back at them as having human traits. Individuals of object, lacking personality and sense, giving up themselves for the sake of the whole, to create a new entity.
Two living room installations, 2026