Artist Statement for the exhibition
Upside Up
or the overaffirmation
Everything seems fine, so much in its place that nothing is right.
There is this passage in the novel ‘The Third Policeman’ by the Irish writer Flann O'Brien, in which the theory is put forward that due to the dynamic nature of molecular structures, the boundaries between humans and bicycles become increasingly blurred in confrontation, i.e. when riding a bicycle, that humans and bicycles exchange molecules, and the more often they are in motion together, the more irrevocably they do so, meaning that the world is basically all made up of hybrid beings. Like people who have already become bicycles in varying percentages. And vice versa. Bicycles with more or less pronounced human traits. With all the consequences. Bicycle people who are gradually forgetting how to stand, how to hold themselves upright and prefer to lean against something, and bicycles that have become human, seeking the warmth of indoor spaces.
In this sense, our current works are also hybrid beings, transhumanist portraits, showing corporealised surfaces and flat, non-representational bodies, thus not only liquefying historically entrenched visual hierarchies. From above and below. Centre and edge. Foreground and background. The born and the made. But also become something else themselves. At a certain point, each of our images transforms into a captcha, a communication vehicle that scans complexities or patterns of perception. By asking, for example:
When is colour merely an attribute, when is it everything, when is it itself a thing?
When is a line merely a line, when a form, when a boundary.
When is a surface a shadow, when abstract, when empty.