Language, as a container, is invisible. It gives form to the boundless, fluid material world without calling attention to itself.

In my mind, the cylinders in the image are the buckets holding the filler I use in my work. While still in the bucket, the material represents possibility; once the work is complete, possibility becomes actuality. Only one of countless potential forms can be realized. The buckets remain as leftovers, discarded like the possibilities that never came to be — words never spoken, stories never told. 

See a work-in-progress video here and a presentation video here.

The Entangled Reality series consists of works made with a device that allows me to draw multiple lines at once. It creates what might be described as a polyoptic image. 
Our perception of reality does not rely solely on our own senses, but also on the perspectives of others. Since the emergence of language and human consciousness, this has been a demanding process: how to reconcile many points of view into one coherent outlook, ideology — or what psychoanalysis calls the Symbolic Order.

With the rise of mass media and the corresponding decline of religion, this process has become increasingly complex. Today, when countless perspectives are as instantly accessible as they are overwhelming, the task borders on the impossible. The result is a fragmentation of reality — and of our position within it.

Still, we sense that events and movements, sentiments and opinions are connected — we just don’t understand how. It’s reminiscent of the mysterious phenomenon of quantum entanglement, where information seems to exist simultaneously in different places, not through communication but through some hidden, direct connection. Carl Sagan once described how a two-dimensional world would perceive an encounter with a third dimension as something magical — objects descending from above, appearing out of nowhere. That’s where we find ourselves now: flat-earth believers flung into space, faced with the vertigo of hyperbolic language in overdrive.

Res Ipsa is a compilation of works made by an act shaping the filler once it is prepared inside the frame. The works thus function as a recording device and give a statement of the event taking place while the filler was still wet.

Res Ipsa is Latin for "the thing itself" and is part of the juridical term "Res ipsa loquitur" (the thing speaks for itself), used when an injury or accident in itself clearly shows who is responsible, such as an instrument left inside a body after surgery.