INCREATE
13:02:00
60 kg of rusted nails, transparent thread, metal frame
This project was developed during a four-months residency at Haute Ecole des Arths du Rhin, Strasbourg, France and it comprises works of sculpture, photograph, video and drawing. The installation and the experiments supporting it were part of my 2017 solo show at Atelier 030202 Gallery in Bucharest.
What is there inside us before the language, before we have the words formed within? Is it the chaos, the research, the imprecise, something on the way to be built or dematerialised? Is it, maybe, another time, the time outside time, our only reality - the present?
The volatile, imprecise structure takes into question the language as an instrument to create intersubjectivity, emphasizing the limits of this code which cannot give us full communication. The project also tackles the limits of writing as a technique used against forgetting and it emphasizes various ”species” of time - metaphorically cancelling the gravity shows the qualitative time, not the quantitative one, transforming the nails into traces of an accidental drawing.
When I release a message into the world, I cannot control the state in which the “other” will receive it. I release it as releasing a bird, but it’s precisely “the words before the words” that make the message uncontrollable; otherwise, everything would be clearly understood, mathematically, nothing would be uncertain, as if having been translated by a robot.
The volatile, imprecise structure takes into question the language as an instrument to create intersubjectivity, emphasizing the limits of this code which cannot give us full communication. The project also tackles the limits of writing as a technique used against forgetting and it emphasizes various ”species” of time - metaphorically cancelling the gravity shows the qualitative time, not the quantitative one, transforming the nails into traces of an accidental drawing.
When I release a message into the world, I cannot control the state in which the “other” will receive it. I release it as releasing a bird, but it’s precisely “the words before the words” that make the message uncontrollable; otherwise, everything would be clearly understood, mathematically, nothing would be uncertain, as if having been translated by a robot.
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Intermediate stage of building the installation
detail
detail
Starting from the „Installation for the words before the words”, I made a series of videos filmed in "slow-motion” where I repeated the gesture of throwing rusted nails in the air. Together with the image, the sound is also under the effect of the slow-motion and the nails that hit each other when they ascend and when they fall create a special soundscape.
By cancelling the gravity, a useful element which once served to build physical realities is now transformed in a disassembled writing, in floating particles. The „slow-motion” presents a strange time, normally inaccessible - the time beyond the code. A time of analysis which captures all the moments of flight, in contrast to the suspended, frozen time of the installation. We live in a world of information, but we are not made of information, we are made of experiences that take place when we exit our habitual, foreseeable time.
Photography. Disassembled writing.
The writer William Burroughs said that language is a virus. „Man is made of two halves put together. One is the body, the other is the word. The word is an organism. From symbiosis to parasitism there is only one step. The word becomes a virus, a parasite which takes over and damages the central nervous system. Modern man has lost the option for silence. Try to stop your sub-vocal language. Try to arrive at ten seconds of inner silence. You will meet an organism that forces you to speak. This organism is the word. The horizon of freedom means breaking this cage, this mould. When the word is erased, the body will come forward".
In the works that suggest different forms of writing, I follow this argumentation. Trying to get to the words before words, I take only the visual form of writing to create a drawing with the nails, but it is a writing void of any significance; all I have kept is the sensorial part of the writing, its body.
Lytography
Poem
Japanese poem
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