All is formatted, all posits itself as basic and crucial – if one applies an effort to make sense of a diagram it becomes clear that a thought process has taken place: this follows this, thus this is true. The viewer is led: there is buoyancy to it. In the figuring out of the images, the viewer is made to think about the order of things in a different manner. Despite clear specificity, there is a lack of grounding actuals, of some object that isn’t only acting in relation to the other bodies/objects we encounter in the image. This absence of a bridge with the physical world leads to a degree of suspension: the viewer does not know if they are looking at schemes for a rocket ship or for a perfunctory business meeting. I intend for the works to imply a greater body. An etched print (A) alludes to the existence of a metal plate (B), the inverse image on it. This relation gives A and B a similar magnitude. I am trying to present objects that imply the existence of an exponentially larger other.
The works that are solely text, printed on office paper in a quasi-academic manner, use autobiographical situations, but shift between viewpoints, presenting the narrator as untrustworthy. The various edits of such a text are considered on the same plane. When it comes to the work’s dissemination, each variant acts to represent it – already only an idea of the reality of the definitive text. The work is absorbed, dematerialises, as it leaves the hands of its maker.