Last week, in the 7th floor project room of the Academy, I showed a big plastic sculpture, or installation. Call it what you want.
This complex structure is suspended with hooks attached to the ceiling and walls, constantly changing not only by adding or subtracting material, but through the displacement of my body in four dimensions (width, depth, height, time). The fourth dimension, time, allows for a mental displacement too: as I am influenced by all kinds of sensory inputs such as changes in daylight, music, mood, research and discussions, I gradually understand the contours of something else than what I first had in mind. Time, reflection and interaction sheds light on an intuitive way of making. Curiosity is my driving force. Surprise is my reward.
1. Interaction and performativity. The audience is encouraged to walk around and interact with the installation in any way they want. This allows for a certain dynamism, but the most dynamic part, the full working process, is unavailable to everyone but myself. Someone mentioned that they could imagine the structure growing by itself, but I replied that it would only be an illusion of growth, not actual growth of course. Perhaps I should start sharing the entire permormative ephemeral process of making and not only the static end result.
2. Site-specificity. I wish to observe how certain materials transform in different spaces/contexts, and to resolve how I can adapt accordingly. This time my focus was more on the formal/aesthetical/sensual aspects and less on taking satisfactory advantage of the limitations/possibilities within this particular space. A colleague asked what would happen if I switched the synthetic yellow lights off, using the external light source in stead. That is why, throughout the second half of the exhibition, ceiling lights were turned off, which served its purpose much better.