2020, Hamburg, Berlin, steel, woven nylon, digital mixed flow fans, wood, electric compounds, metal frames: 60 cm x 60 cm x 240 cm each
How can sculpture navigate the dialectics between content and form, authenticity and seriality, difference and repetition, organic and machinic, in the homogenizing context of lived experience? Is the medium capable of transposing the logic of closed but nesting systems from randomness to formality and, to essentially embody potentiality?
Having been interested in Hans Haacke's early works, particularly his interest in system aesthetics, with this work I am utilizing the architectural potentials of minimalist sculpture to return to the larger question of “structure” and its place in defining and confining human relational complexes. volume no. one, volume no. two and volume no. three are a single body of work, three distinct sculptures and three varieties of the same entity played out sequentially: 1- erratic 2- formalized 3- budding. The element of time, central to the piece, is accentuated not only by the three-dimensionality of the medium in general and the cyclical nature of this work in particular but also by the sound emanating from the work’s mechanical components. Powered by two small computers, the concealed machinery and the embedded code use the mathematical dimensions of the work, itself based on the standard ceiling height since 1960s, and program the synthetic movement in volume no. two and volume no. three. The works’ dual character is also highlighted by the material contrast between black mild steel and rip-stop nylon. It inscribes the experience of the viewer in relation to the space where it is shown, becoming the visual proof of the cascading nature of all systems in general where one is always more or less contained while escaping another.