A hideous pile of overbred marbles

Result #1

with an expression of utter helplessness (underlined with a handkerchief) is a striking example of a childish icon—suggesting the gift of a child and its lack of value. For some time now, Ive found myself viewing this as a metaphor for the construction of a character, a concept, a character is a collage of the self-image of the artist. In this sense, it is a passive, self-assured image that simply reflects on the creative potential of the artist.

Result #2

A hideous pile of overbred marbles, twisted into a writhing snake, its skeletal structure forcing its way through the earth, forming a pit that eventually, over the course of several hours, eventually seemed to melt. A female figure emerges from the pile, a pair of long, heavy slippers fluttering over her feet, and a necklace of beads, both of which also had a bead on them—a nod to the fact that this work was not on display in its original location. The sculptures set the tone for this exhibition. In the back room, a small collection of photographs of the artists exploits taken by the artist as a member of the French expedition to Antarctica in the 1970s were arranged in a circle like the scenes from an episode of Lost in Space, while a series of small, photorealistic prints of the artists own hands (sometimes a hand is merely a hand) reached across the room to become a body part. The works, which also took their inspiration from ancient Egypt, explored the relationship between the body and the body of land. In one photograph, the artist was seen playing with the edge of a boat, the point of contact between her body and the water. In another, she is placed in a chair, her hands over her head, in a gesture that resembles an initiation rite. In a third, she is seen from behind as a toddler, her hands reaching up like phalluses, or a severed head in a baby's playpen. In this image, the artist was shown both as a child and as an adult, having been transformed into a geometrically enhanced specimen. In this way, the sculptures undermined the traditional distinction between the work of a contemporary artist and a traditional artist, with its fixation on the body as a site of creativity. And they also underscored the undercurrent of antiauthoritarianism that runs through much of contemporary art, including in contemporary art itself.

Result #3

A hideous pile of overbred marbles, one over another. They look as if they had been laid over a great mess of bruises. On the other hand, the fragments of wood, which were piled up like a beehive, evoke the seeds that the bees give their young, and even more than that, the children of the country. They form a wonderful, rather threatening, puzzle.The rhythm of the work is more than rhythmic. Each group of marbles, whether in pairs or in trios, is defined by a unique form and a specific color. And each marbles color is unique, and the form of each one—a three-dimensional form with a flat surface—is defined by its relationship to its neighbors. The broken pieces of wood, for example, are arranged in a square arrangement, which is at once the same shape as its neighbor and different in hue and value. The small group of marbles seems to have been made for each other: blue and yellow on a red, for example, or pink and black on a brown.But the work is not only about color. It is also about form, and the work is also about the three-dimensional space within which it is displayed. The five large-scale, three-dimensional paintings that comprised the installation are in this case arranged in a grid pattern, as if the paintings were on a wooden panel. This installation is also a metaphor for the work of the three-dimensional image. These works are also arranged in a grid, but one that is different in size and shape from the other three.The red and black paintings, for example, are placed one above the other, and the space that separates them is formed by their different sizes. The size of the red and black paintings is also different, as it is in each case, and each painting is divided by the gap between them. The red and black paintings are part of the grid and the small grid is what the works are displayed on.

Result #4

—the result of a delicate calculation of the ratios between the earths mass and its density, and of the materials, amount and density of marble. The marble was crushed and mixed with crushed earth, leaving a visual residue that alternated between an unusual earthy tonality and a starkly schematic brownish-yellow. The whole effect was of a great, painful, and disturbing realization of the extreme hardness of the earth and the softness of the marble. The sculpture was suspended from the ceiling by wires, and was supported by a tree trunk.It is clear from the description that these sculptures were made in a particularly laborious way. The materials and the methods of construction were already known to the artist, and a moment of revelation, in his own imagination, has been required to find the right balance between the task of producing an object and the object of creating a feeling of possession. To some extent, this work is a reflection on the fact that the artist has to consider the question of possession in a particular artistic situation—a question that is of fundamental importance to him.

Result #5

A hideous pile of overbred marbles in a shower of water. An elegant white cage and a jar of Vaseline. A rag doll with a nose that looks as if it were about to make a strange appearance. A flat-screen television set. A bottle of acid green. A huge gash of red paint on a white wall. A bed covered in a satin and a bed covered in a satin again. A blanket with a tiny mattress and a blanket. A wicker blanket, a huge black bucket, a lamp, a pair of boots, and a bathrobe, and a sheet of black paper. On a small white table lay a small pile of sand.On a side table lay a collection of wine bottles. On another table lay a small pile of shoes. On a wall hung a wall of red tape. On the floor lay a tiny bed, a tiny mattress, and a walk-in wicker blanket. On a wall lay a pile of sand, a pile of shoes, and a pile of rocks. On a wall above a pile of shoes lay a pile of sand. On another wall hung a pile of sand and a pile of rocks. On another wall hung a pile of shoes and a pile of sand. A black curtain was pulled back. The curtain hung from a nail, hanging from a branch. The curtain did not cover the pile of shoes. The pile of sand was on the floor. The pile of sand on the carpet, the pile of shoes on the floor, and the pile of sand and rocks on the curtain. A great tent covered with a white blanket and a pillow. Another tent was on the floor, a pile of shoes and a small mattress. The pile of shoes on the pile of sand was on the floor. A wicker blanket covered with sand. And so on. It all continued along the walls. In the corners of the room lay a pile of shoes and sand. On the floor was a pile of sand.