The post-minimalist, stylised sculpture Dust is suspended, by cables, in air. The hanging flat wood board is carved in a corner, and it is opened in a twenty-point geometric shape that is, proportional to the surface, small. The tactile, multi-planed shape expands under the top, painted wood board, which lies perfectly flat, and is neither strained or stretched. In effect, the multi-planed sculpture finds tension in the work underneath, parallel to the physical surface on top. This extension beneath resembles an exaggerated, caricatured molecular makeup, and is, in effect, an unidentifiable but certain scientific form. Using negative and positive space to create this illusion, Dust shifts our gaze from the three-dimensional to volume in order to redirect the question from a closed surface to an expansive future—how is possibility produced in ,,significant’’ emptiness? Like a storage space beneath the piece, there is the magic of disappearance. Space is not constituted as simulative setting, but the consistent deploying practice of expressions, turning and reshuffling.
Fog covers the street, and intermittently,
Indecision floats white.
The vacuum returns to concrete
Unhurried, the haste, confused surprise
And indiscretion of dusk.
The perception of space is an illusion produced by the definition of its’ limits. Space can be light, energy, sound, life; but also nothingness, silence, air, dust.
A hanging plateau is occupied by a vacuum: an implied space, an absent form; a piece of void, quietness; suspended dust in the air.