64x84 cm each, installation dimensions variable | Filler, oak frame
This work is produced as four individual works. Two of them have a seamless transition. The group can be mounted together in different combinations, or individually.
A membrane is a selective barrier. It lets something through and prevents others from passing. Visual membranes can be polarised glass as in sunglasses or semi-transparent fabric as in tights or veils. A screen on a computer with a user interface is also a kind of membrane. Behind the screen are processes of which the user only sees the end result.
Perception itself can be described as a membrane, or a filter, where some parts of the information from the eye contribute to the visual impression, while other parts are omitted. Our pre-understanding of reality determines that we only perceive parts of what surrounds us. It can also have overall consequences, such as that phenomena outside the majority culture become marginalised or made invisible, and that the privileged remain blind to the specificity of their own social and cultural status.
The search for truth is sometimes described as lifting the veil that hides the real state of things. The truth is often called raw and unfiltered. But a filter can also be like a moraine. When the water is slowly seeping through it, it becomes clear and clean. We may sometimes need to hide parts of reality, filter the gaze of the outside world, to give an impression that is more in line with our inner image of ourselves.
The membrane is a primordial component of life. The cell wall regulates the organism's basic relationship to the outside environment. Without it, life would not exist. In the same way, the language prerequisite is the ability to set boundaries. To distinguish one from the other. One can think of language itself as a membrane, or a filter, that separates and sorts the limitless and continuously fluctuating nature of the material world.
Press is a compilation of works made by pressing down the filler with a horizontal plane, thus expanding it outwards.
Reminiscent of Richard Serra's Verb List I use simple and clearly defined actions to shape the filler in my works. This method ensures there are non-cognitive aspects of the production process, which allows for unknown elements to enter.