My intention is to develop a singular body of work that elaborates the phenomenological experience of space, based on the premise that reality consists of objects and events as they are perceived or understood in human consciousness and not on anything independent of human consciousness.  This allows the viewer to experience the conceptual. The concept of this work originates in the crucial distinction between symbolic signification and the objects’ own place: the ‘empty place’ filled by signification; the ‘empty place’ that precedes and makes possible the object that fills it as soon as the symbolic order emerges.  We are dealing with minimal, though structural, differences in our mind. The exhibition can be referred to as minimal in form. Work interrogate space, consciousness and violence in institutional spaces. I question where the art actually is? Is it in the artist? Is it in the object? Is it in the viewer? I strive to execute objects seamlessly. The surface of the artwork induces a mesmerizing range of perceptual experience, simultaneously drawing the viewer inside the object. I am using a shape with which we are all familiar in order to establish a direct connection to the viewer.  A cube made out of concrete seems lighter than it really is. This makes me focus on how and why things happen; as well as wondering what really does happen in the field of white cube installations in various ‘institutions’, for example gallery spaces, and how events can be remade as art.  My aim is to make the spectator aware of the objects that are placed in a particular space for example the cube and hammer. The spectator is not allowed to prejudice the situation by touching the exhibit and in this way he suddenly becomes party to an entirely different art structure: the state of the real.

Concrete, Plastic, industrial wheeled pallet,Wood, Hammer