TITLELESS

Dimensions: 150x 200x 140 cm (Changeable)
Dimensions of cuboids: 100x 50x 30 cm
Media: Plexiglas/ Styrofoam granules/ cotton/ sea salt and water/ white flowers


The scene whose whiteness absorbs the gallery space is set in four large, transparent, white, upright cuboids, each filled with a different kind of white material, two inanimate and two animate substances, suggesting the inevitable and inexorable passing of time. We are presented also by four qualities of the white beauty, diverse in its selfsameness.

One cuboid is filled with white flowers, living organisms that will necessarily change their structure and deteriorate before our eyes. Merciless impermanence. Each living organism, having fulfilled its purpose, comes to an end. All life features with the passing of time become death features, beauty looses to ugliness, fatigue and depletion.

Sea salt and water fill the second cuboid. These two elements make part of the human body, and are primordial picture of preexistence of all creatures on Earth. Water is the essence of life. The sea generated the Life. Water and salt permeation, vapor vicissitude, salt firmness and flower decay speak of constant change and temporal component of the work, highlighted further by the use of those fragile links forming our physical presence, material existence. The permeation of the animate and inanimate, primordial and contemporary, permanent and transient is the theme and quintessence of this artistic research.

The silent whiteness of the cotton fills the third cuboid. This hazily soft material is also of natural origin, though not changing shape during existence. It therefore resembles almost an unreal substance, like a cloud or vapors that come and go and transform, evoking in our minds the idea of freedom.

The fourth cuboid is filled with Styrofoam granules, another white inanimate substance, the least valuable but the most durable. This artificially made synthetic formation attracts by its visual and tactile qualities. The symbolism of transiency and perishing is strong: the granules' crispiness and gentle softness seemingly conceal aggressiveness of this material which runs away from the touch but sticks for the hand, just like days going away without return, but leaving impressions.

The whiteness, softness, pliancy and fragility of the cottony space are emphasized by a subdued meditative background sound. It makes us easier to dive into spiritual spheres of our shells, travelling through traditional and metaphysical scenes of our own spiritual landscape. Despite all inherent symbolism, these four structures still remain only four media for watching the visual and olfactory aspects of the passage of time effect on the material world's sensory layers.