Quantum mechanics—famously illustrated by the double-slit experiment—shows that matter exhibit wave-like behavior. This implies a probabilistic nature and a form of non-locality at the quantum level. Only upon measurement does the system appear to “collapse” into the definite states—particles with stable properties in space and time—that we associate with physical reality. This measurement need not involve a conscious observer; it can be entirely physical, in the sense that interactions within matter itself bring about this transition.

This process invites comparison with psychoanalytic theory. In Jacques Lacan’s framework, the Real is a register in which existence persists in a raw, unmediated form. It is only through the introduction of language—the Symbolic—that reality becomes structured, perceivable, and meaningful. One might speculate that quantum mechanics hints at a proto-structure analogous to language already embedded in matter itself.

At its foundation, language operates through distinction—the separation of one element from another. Measurement in quantum mechanics performs a similar function: it differentiates, selecting one outcome from a range of possibilities. The biblical phrase “In the beginning was the Word” evokes this primacy of structure and differentiation. Yet one might argue that an even more fundamental operation precedes it: not the word, but the gaze—the act of distinction itself.

Work in progress video | Presentation video

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.

Template is a compilation of works made by using pieces of wooden plates as templates. They function a bit as a mould or matrix for the finished work.

Reminiscent of Richard Serra's Verb List, I use simple and clearly defined actions to shape the filler in my works. This method ensures that non-cognitive aspects of the production process allow for unknown elements to enter.