The site-specific installation could be described as an assemblage of two seemingly disconnected parts that in themselves represent different types of dislocation: the sculpture utilizes the material edge dislocation while the painting is about the geological and optical dislocations.

Intended to explore the tension between rational and irrational principles through the media of sculpture and painting, it uses two different methods. The sculpture concerns with the language of constructive, quasi architectural forms and industrial-domestic materials, such as foam, and the painting emphasizes physicality and sensuality of random processes and natural materials, such as sand and volcanic ash.

Regarding significance and contextual references, the deconstructive concept of dislocation is based on the subversion of oppositions. In their synthesis, these seemingly antagonistic structures would create a new category combining both aspects and with a meaning completely different from those of its parts.

Thus The Deceptive Lightness of Being, metaphorically presenting two conflicting sides of the condition humane: our reason and our passion, the strive to progress and the compulsion to plunge in the abyss of dark, subliminal and destructive desires, represents a meta-event with a new paradoxical denotation, which brings to light the experience of absurdity and confusion.

DISLOCATION

Site-specific, immersive Installation: 3 paintings: 240 x 120 x 6 cm each, sand, volcanic ash, glass / mirror splinters, acrylic, paint spray on canvas; sculptural arrangement on the ceiling: foam, paint, sand; sculptures on the floor, foam, paint, sand; 1st window: broken bricks, shells, sand; 2d window: ‘bricks’, foam, sand; floor: debris of paint, sand, real bricks, foam, glass / mirror splinters, stones, shells, iron wire; tarpaulin: approx. 24 sq. m. 

And sand, ash and dust rain upon your land and cities...

This installation is concerned with different types of dislocation: the paintings with the geological or tectonic, the sculptures with the material and architectural dislocation, and the installation on the whole with an urban space disruption, accumulating disposed materials from the making processes and turning the site into an entropic waste environment reminding of a war zone.

Simulacrum, illusion, parody of building processes, mixture of genuine and surrogate materials, deconstructive techniques and dramatic light effects are means to create a semi geo-industrial waste environment in a space that is half-dark, slightly gothic and subtly absurd – an installation that envisages ‘beauty in destruction’ and yet mocks it, at the same time.

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