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I invited my viewer to write about my work, but the work itself was supposed to be the text that he/she was going to write. I located the invitation (The Invitation: Ask /U/ to write about, A work which is what is going to be written about, A work) between the quotation marks that the fingers in the cut out hands make. The framed white wallpaper is over the glass of the frame; two hands are cut of from that. For me the quotation mark is one of those special moments in which the linguistic system works inversely. In language you have a sign to represent the notion of something including objects or behaviors in the real world. When we imitate the form of the quotation mark by our fingers what we do is create a behavior to represent signs and in fact we do the opposite of the linguistic process. This works exactly like writing about something, which the subject itself hasn’t created yet and it is going to be created by that text.

The spots that absorb the light, seem black.

The Ring Holds the Whole

What you see is a wooden sculptural globe surrounded by four smaller ones, all covered by juxtaposed collaging images that conjure up a visual epic. The surfaces ‌host familiar printed images gathered from a variety of sources at different times: from a postcard of an art exhibition, to an old science book for children, a knitting magazine, or religious illustrations. Even though the visual components are familiar, and the rhythmic associations and semantic references they elicit are known, the smooth linkage of the figures and their abstract connections make it difficult to unfold a coherent and specific narrative. While documenting the real life, and creating imaginative stories, seems two different territories, this ring opens up a third narrative: an abstract yet strong connection of the familiar components, wherein the audience draw their own fluid stream of consciousness, through the circling wheel that has no beginning and no end.