Oscillating between an objective and subjective approach, he works with both formulated ideas and factual information, as well as from various modes of intuition. By joining a cooler and more detached look and feel of industrial and mass-produced wares, digital media and readymades with an affective attention to the tactility and ambience of the handmade, and that of repurposed and reconfigured objects, he merges intellect, sensibility and material. The exhibition In between days presents a grouping of works that form an interrelating installation.
A synthetically odd domestic stage is set. A faceless mannequin is surrounded by animals. They gather around a bowl of foamy substance. A small cabinet looks to be the source of this substance. A perforated shirt hangs on the wall. A knife and a batch of penis bacula bones conjoin, alongside a plant motif on a mask. The paintings appear as blurry and dreamy landscapes, as conveyors of an emotional and abstract type of communication or merely as canvas with aesthetically applied paint. A photo shows a mass wedding at a Moon Unification Church ceremony, which seeks to unify and populate the earth by marrying unknown people of different nationalities, much like the people of the Tower of Babel, who united in a single language, to nearly reach Heaven.
The cross referential works seem to move in and out of an orchestrated mirage, that is, the unnatural situation and possible narrative of the installations and works, and the idea, materiality and constituents of the private and the public space, the gallery room and reality itself.
The exhibition presents itself with such observations, as well as with considerations regarding perception, in relation to the contrasting sides of nature, with its both systematic structure and its instinctual and organic aspects. This makes for ambiguous interpretations, of our common fundamental needs and behavioral deeds, and of the contemporary manners and motives which moves us in individual and societal pursuits.