Please Me Synchronicity, 2014 / installation view at Tegenboschvanvreden, Amsterdam, NL duo exhibition with Pedro Moraes as part of Festival of Choices MFA show Sandberg Instituut

Amsterdam

sizes variable/ mixed materials

ON UNFINISHEDNESS

Changing your mind

I can change my mind

In the endless openness, in the flux of changes and possibilities, I cannot find the thread. 

This is a statement.

There is no end. The end of the creative process is the moment of exposure. There will be even more moments of exposure. For these moments we need to find the Presentable. The artwork does not have to be in a finished phase. If it is Presentable. 

What are the criteria? 

A deadline pushes things into a solid form, one that is eventually still in flux. Such a kind of state is the norm here. 

As life is a continuous change and stress. A personality arises, it becomes an existence.

We cannot stay the same. We cannot stop time.

I have been collecting documentation material from the start of working on the Hollow sculptures. It began – As a pile of clay and something solid, then it started to become something else; 

By my own touch it turned into whatever shape and purpose. 

It cannot be just a random object if I put it in a gallery context; if I expose my stone in a gallery it is not just an object. It has a story behind it, its own history of becoming to the point of where it is now. 

But this I forgot in time, of course. The object organically developed and this is imprinted in its skin and its silent memory. Oh, if only stones could talk. They would have explained themselves, would have the opportunity, in the gallery, NO

They are what they are, here and now, with no ability to speak

I am a stone whisperer

The material collected from the process contains the inside clay (‘the insides’), fired as ceramic pieces; pictures from the hollowing process. Stones are in different stages and different positions. There are a series of similar pictures from different angles, various combinations of setups in the photographs. There are photos from places where they were stored, the safe ways of how they were packed.

They are always somewhere somehow. 

All sculptures cannot exist in a specific way, always installed. Preserved, like the sacred items for the purpose of admiration from the audience

They can be a part of an installation but they will always have more options to live their lives.

Whatever the circumstance of life, there are infinitely many different paths.

Their individuality is a secret that can be titled by me. They have empty space inside.

They can contain but they do not sustain anything material.

If I present them on a table, the table becomes a part of the work. The pedestal is not invisible. I cannot make them alone, floating in the air. 

I cannot accept the idea that they will lay on a pedestal like dead parts of something other, alone, left.

They need to connect with the whole space around them. 

This cannot be offered now.

This is what can be offered now.

I can offer this now.

I don’t want to offer anything.

The offer should come to me.

The inside is smooth and is never visible. It is common sense, like a myth. It does not have good PR. It is very static and no one will be surprised because it is not about the surprise. It must stay a secret. A well-known secret.

Secret that no one will ever discover. 

Well known for its reputation. 

It is the rawness in provoking the minds of bored people. The curious ones will suffer. They will remain without explanation.