Looking Forward, 2007 (detail)
Mixed media: glazed ceramic sculpture, wallpaper glue on wood, doormats, man T-shirts hanging on a fishhook
Sculpture size: 40 x 30 x 60 cm, décor 240 x 60 each panel, part of the installation Crime Scenes
The exhibition Crime Scenes is composed from three installations, which are titled as: ‘Looking forward’, ‘Become one’ and ‘The Siren’. Each part can be seen as an independent piece, but yet they are deeply associated with each other. Together they create a whole, a layered narrative, a ‘web’ that is being weaved due to an inner reflection and visual signs that echo. One can define three main ‘threads’, which guide the narrative and weave the web: the thread of crime, the thread of longing and the thread of the time perception. Together they create a non-linear story.
Every scene is assembled of two main components: a three-dimensional ceramic figure and a two-dimensional ‘screen’ as décor. The ceramic figure is the main character and the décor, though not less important, the secondary one. The décor is the factor that opens a dialogue and relationship with the ceramic figure; it reveals something about the figures mental condition, exposes its hidden (sexual) desires, the ‘sinner- thoughts’ or in other words the Crime scene in which it appears.
All the characters in the scenes are longing for something which is out of their reach or was once within, and is no longer; The figures are longing for things that already passed, longing to the unknown future, longing to ‘become one’, longing for eternity, longing to hear the most beautiful voice, longing for two beautiful human legs. These desires are weightless and continuously moving ‘non-matter’, and can for instance be identified in the video projections or in the face expressions of the sculptures.
The longing for the impossible distorts time perception if one is fully and completely pre-occupied with longing. For what is no more or will not be, cannot be part of the present. The figures cannot experience nor accept the ‘here and now’. They live in another time zone, in a repetitive time, in the same moment again and again, without ability to escape, with the disability to accept the existence of earthly-life. This heavy fixation is symbolised in ‘matter’, such as the baked clay, in the repetition of the video loops or the flower pattern of the wallpaper.
The threads of longing and time perception are knotted together in a crime scene for the longing petrifies time and matter and causes a dead end.
What we see are the remains of what happened, a reconstruction of the place where the crime happened and the ‘Red handed’ figures that were caught in the ‘web’.