CEILING-SCAPE I

Model

Mixed media, dimension variable

The semi-industrial installation plays with the concept of displacement and illusion. The viewer, entering an empty space and looking up, discovers an upside-down world on the ceiling made from bricks reminding of a city-scape.
The bricks, seemingly heavy, nevertheless appear to levitate under the ceiling.
The work exposes absurdity, precariousness and futility that prevails in the contemporary culture and questions a number of concepts in art, such as monumentality, materials, stability, perception and meaning.

MORGUE INSTALLATION

Model

Mixed media, dimension variable

ENTROPIC ENVIRONMENT

Mixed media, sand, volcanic ash, acrylic paint, glass and mirror splinters, debris on tarpaulin, approx. 6 x 6 m with a painting, 240 x 120 x 6 cm

CEILING-SCAPE II

Mixed media, dimension variable

THE DECEPTIVE LIGHTNESS OF BEING

Installation

With Painting ‘STORMY WATER III’, acrylic, volcanic sand, ash, glass, mirror shards on canvas, 200 x 200 x 6 cm; and Sculpture ‘THE IMPOSSIBLE LIGHTNESS’,  foam, 445.5 x10 x 6.5 cm

THE DECEPTIVE LIGHTNESS OF BEING

Installation (detail)

The site-specific installation could be described as an assemblage of two seemingly disconnected parts which in themselves represent different types of dislocation: the sculpture utilizes the material edge dislocation while the painting is about geological and optical dislocations.
Intended to explore the tension between rational and irrational principles through the media of sculpture and painting, the installation employs two different methods. The sculpture is concerned with the language of constructive, quasi architectural forms and industrial-domestic materials, such as foam; the painting emphasizes physicality and sensuality of random processes and natural materials, such as sand and ash.
Regarding significance and contextual references, the deconstructive concept of dislocation is based on the subversion of oppositions. In their synthesis, these seemingly antagonistic structures create a new category combining both aspects and undermining the meaning of its parts. Consequently, ‘The Deceptive Lightness of Being’, metaphorically presenting two conflicting sides of the human condition: our reason and our passion, the strive to progress and the compulsion to plunge into the abyss of dark, subliminal and destructive desires, represents a meta-event with a new denotation, which brings to light the experience of confusion and absurdity.

DISLOCATION

Site-specific installation (detail)

Mixed media, approx. 25 sq m

PASSAGE

Site-specific installation (detail)

Mixed media, sand, debris, industrial sound, approx. 12 sq m

at the Crypt Gallery, London 2015

Passage

From now to eternity, there is a dark passage through which you need to go to obtain freedom from everything that means death.

 The work questions basic assumption about life, its meaning and relevance. Twisted in reality, Existence expresses itself as a dark and absurd non-entity, the sense of which is a kind of simulacrum. In addition, there is a physical concept of death as a trespass of a dark and dangerous space with light at the end.

Simulacrum, illusion, parody of building processes, mixture of genuine and artificial materials, deconstructive and dislocation techniques, light effects and darkness, besides an eerie industrial sound are the means to create a semi geo-industrial waste environment – the absurd ruins of the passing time.

 In technical terms, the installation deals with a material and architectural dislocation and, in general, with an urban-space misplacement, comprising materials from the making process disposed into the surrounding space and generating an entropic waste environment that very much reminds of a war zone.

Futility and absurdity manifest themselves in the rows of hanging ‘bricks’, with some breaking middle ways, some stretching further to the floor, just ending in a few centimeters over it and the others bending when reaching the floor. The situation even more is absurd when people realize that the columns with apparently heavy and dangerous bricks are effortlessly swinging from side to side while passed by.

The visitor makes a decision whether to enter the semi-dark, dangerously looking space and find his way through the unstable brick columns to the opposite side with the exit or remain at the entrance looking at the work from outside. Needless to say, that the perception of the work changes by going inside and making the passage journey through the space. The ‘passage’ starting with the decision making of the onlooker thus reveals the epic and metaphoric dimension of this work.

 

Model of

MONUMENT TO DESERT AND SEE

Bricks, 210 x 65 cm each, 

first presented at WCA, London 2013 

This work is not only a monument celebrating nature, but also a music instrument (sort of aeolean harp) resonating the sound of wind and waves through the holes in the bricks. 

PASSAGE / DISLOCATION

Site-specific, immersive installation (detail)

Mixed media, sand, debris, discarded matter, bricks, foam, paint, spot light, industrial sound, approx. 8 sq m

at the Rottmann Fuenf Gallery, Munich 2019

This installation was shown first in the Crypt of St Pancras Church, London 2015 and as a variation in the Rottmann Fuenf Gallery, Munich 2019.
For both installations, a remix of industrial sound is used. The hanging „bricks“ can be moved. The work deals with an architectural dislocation and generates an entropic waste environment, very reminiscent of a war zone.

SUSPENDED OVER MATTER

Installation

foam, approx. 700 cm (h) x 15 x 6,5 cm; floor: detritus, sand 200×200 cm

at Asylum Chapel, London 2017

The site-specific installation at Asylum Chapel concerns with different ideas, such as our sense of security, precariousness, deception, illusion, the physical, material world and our urge to uplift into another dimension, to where we would escape and where we would find refuge from the earthly evil; and also it deals with dislocation, ruinous processes, be it in architecture, or be it in nature.
On the floor, one can see something that looks like a physical world, or rather remnants of it – that shows the natural process of decay and disintegration. Over it seemingly effortlessly pending is a slim column (in form of steps), dematerialized and domestic-industrial at the same time, taking us into the universal Asylum to escape the material evil. However, between the matter and the road to the heavenly asylum there is an unsurpassable gap, which is another metaphor for the sad truth that all our dreams of escape are futile.
The other end of the rope to heaven ends just under the beam of an ugly post-war roof.
The work connects to this site by utilizing one of the features of the chapel – its height, this in itself is a challenge. Philosphicaly reflectcted, the Asylum church gives room for thoughts of the heavenly Asylum and how to attain it. Its dilapidated state however shows that such thoughts are just dreams. Like the Asylum chapel doesn’t give shelter for refugees, so there is no escape or refuge from the Universal Evil.

Another more specific aspect:
The sculpture concerns with the language of deconstructive, quasi architectural forms and industrial-domestic materials, such as foam. Deconstruction of the whole process lies also in absurdity and illusion of the construction.