To rewrite on the space the intentions of a loose thought that falls little by little, that clusters and piles up theories, motives, themes.
The installed works entwine conversations, dialogues of overlapped proximity and discord. The task of listing them, allowing them to breathe or even placing the piece at the most interesting spot is the most expected part of the creative process, a time to wait, to peek from afar and to get in.
In the second part of the exhibit, we enter the space in two ways. Through the first, a crumbling door of earth, horizontally, the installation Crevices. Through the second, a beak-bait on a quadripod, closer to a bird about to take flight, next to the suitcase in the installation Lined up possibilities.
As we enter an exhibit, there is no reason for the thought to take wing, we just walk, the pieces invite us, and we let ourselves wander around.
Beak-bait is a gathering of objects found along my path from my house to the studio, in the detours and stops of this commute. The fishing float, recovered without the line, the rod or the fish. The wooden support, painted in green, a leftover from the cork factory, without the cork and the tools that once gave it purpose. The bent, corroded iron without the ship or the rope knots. The feather left behind by a bird, found in a sunny afternoon. There is no causal relation for the combination, just the randomness of the encounter and the wish to reunite.
The drift, in its aerial aspect, and the gathering, from the ground, together, allowed for a homage to the birds, constant companions during the residency, species that inhabit the sheds of the old Mundet factory and remind us of the notion of cohabitating the world.
Beak-bait. Wooden support and found objects: fishing float from the beach, bird feather from the park, abandoned instrument from the stopper factory. 1.40 x 0.45 x 0.40 cm. Photo by the author, 2021.
