I like to laugh at the universe, myself and at the seriousness of Art. It doesn’t really matter if it is meant to be funny. It is all about the twist of mind which makes things laughable. From my perspective it works like some kind of anti-religious technique which dissolves any kind of authority. My first inflatable sculpture Little horse (2015) is indeed a stylized horse-like shape containing black balloons moved by internal wind, but it could be regarded as well as some kind of equestrian statue where the rider is lost or simply abandoned in the course of history to become pure joy of being and timelessness.
The installation Flow job (2016) presented at the triennial U3, digs even deeper into the universal existence and the original flow of energy. The 3 monumental heads recall Easter Island’s statues but go in the ancestral lineage as far as to the beginning of time. This is some kind of religious statement that noone would fall for.
People would laugh at it and me if I’d make it as a serious proposition, nobody would even do the effort to prove that it is not a representation of truth. Flow (2016) is a set of ceramic snowmen inside inflated capsules that comes close to the anthropomorphic representation and addresses an individual in contemporary society. Yes, pretty serious topic dealing with how individuals live in own bubbles that sustain their state of being, way of living, their identity, even though not particularly special. The capsules are controlled from an external source and nearly invisible. The tragic is that the snowmen wouldn’t melt outside of their protection. Oh no, that is not tragic. It’s funny, remember? But there is some more serious stuff as well, not too much though. The anthropomorphic pieces and installations Obsession (2014) and Hunt (2015) are beautiful examples of hybrid creatures which can recall the theory of posthumanity. There are no signs of technology or bioengineering, but hey, who decides beauty of the future?