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Subject Documenta: From Outer Space down to our Land (2016)
Subject Documenta: From Outer Space down to our Land investigates how contemporary vision is constructed through layers of mediation rather than direct experience. Working with found images retrieved from the internet—deserts, highlands, skies, the moon, Mars—the artist stages a studio encounter in which distant geographies become “models.” These landscapes are never visited; they are accessed through the glow of a desktop screen. Using a dual-projection method—an LCD projector transmitting digital images and an overhead projector casting everyday objects such as coffee cup lids, coins, lens caps, and books—two systems of seeing converge onto a single wall. The cosmic and the domestic, the planetary and the intimate, collapse into one projected surface. The alignment of both projections produces temporary constellations: circular forms eclipse suns, interrupt horizons, and puncture landscapes like foreign bodies. The process mimics a photographic studio shoot, yet the “subjects” are fragments of the web and the artist’s immediate environment. After staging this convergence of mediated realities, the image is re-captured with a pocket camera, adding yet another layer of translation. What results is not documentation of a place, but documentation of a document—a document of how we see. The work reflects on technological extension as a contemporary prosthesis of vision. The projector becomes an apparatus of reach, enabling contact with outer space without departure, travel without movement. Yet this access is never pure; it is always filtered, interrupted, eclipsed by the objects of daily life. A coffee cup lid can stand in for a sun. A lens cap can become a black hole. The sublime is domesticated. Spanning from land to desert, highlands to sky, from the Moon to Mars, the series traces a descent from outer space back to terrestrial ground. It questions whether distance today is geographical or merely optical, and whether the act of viewing has replaced the act of being there. Rather than presenting heroic landscapes, the work exposes the fragile scaffolding behind contemporary seeing—projection, superimposition, compression, and re-capture. It suggests that in the age of infinite digital access, every image of elsewhere is already entangled with here. |
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Black Boots, Sweat and Rain. 2016
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Circles (2015)
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Meta-Arrangement (2012)
Meta-Arrangement emerged from a critical questioning of what constitutes an art object and the authenticity of artistic process. The work was influenced by observing habitual rearrangement of household furniture—an act driven not by permanence but by a quiet satisfaction in transformation. This everyday gesture became a metaphor for continuous becoming, where meaning is formed through action rather than fixed outcome. At the same time, I was engaging with metaphysical thought, particularly the notion of the “meta” as existing before, during, and after an event or object. Contextualised within the urban environment, Meta-Arrangement embraces impermanence and process as the artwork itself. Rather than seeking reverence through longevity or myth-making, the work invites appreciation through engagement, transformation, and the transient nature of making. |
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