Squares 2018 CICA Museum



Exhibition 23 November – 9 December

CICA Museum
196-30, Samdo-ro, Yangchon-eup
Gimpo-si, Gyeonggi-do, Korea

1st Biennale Larnaca


The 1st Biennale Larnaca will take place from
the 17th of October until the 30th of November 2018
Mooring_and_Grounding_point a large 2 x 2 meter paintings will travel to Cyprus this autumn.

Biennale Larnaca 2018 concept : Container and Content.

The theme for the Biennale is “Container-Content”. I am very intrigued by the dynamics between these two roles, particularly their capacity to coexist in a dependence relation and at the same time alternate within an eternal vicious circle. It is a situation that pertains directly to the problem of defining space, and is therefore relevant at a time when spatial boundaries are being called into question as never before. At first thought, the content is always dependent on the container, without which it would be virtually impossible for it to exist. Still, very soon one realizes that as the content needs the container, so too the container needs the content just as much: without it, it would be empty, therefore useless. The apparently one-way relation becomes reciprocal. Man himself is a vessel replete with imagination, thoughts, memories, connotations and feelings. Without the “human” vessel, none of these would have been able to exist. And yet, a man deprived of the properties that make up his content would by extension be an empty man; so much so, that the characterization “human” would be called into question. Which one is worse? To not exist or to have no reason to exist? This is the tormenting and as yet unanswered question of a reciprocal relation that reads the same backwards as forwards like a palindrome. But the paradox does not end here. By changing the spatial scale, container and content alternate roles. The drinking glass considers itself a container for water but it forgets that at the same time it too is the content of a larger container, namely the room. Water considers itself merely the content of the glass whilst ignoring that on a smaller scale it too is a container for all the elements and ingredients included in its chemical composition. In other words, as space grows bigger, new and larger vessels are being created; and the deeper we immerse ourselves into the microcosm of space the more contents we discover. An apt analogy would be the Matryoshka, the Russian nesting doll, where each separate doll serves as content for the larger and as container for the smaller one. Man’s defining phases, Birth, Eros and Death, go through this specific binary. Childbirth corresponds to a container-content relation, just like the subsequent relation between mother and child. Death, especially burial, behaves in exactly the same way. There is no burial ritual across any civilization through time that escapes the container-content relation. Body and soul; the casket; and, eventually, the tragic cavity of the grave. Between them, Eros. Two individuals holding each other in embrace alternate between the roles of container and content. So what is the world’s driving force other than one’s need to constantly become filled with the other? There’s a poem by M. Ganas from the collection “The small ones” that keeps coming back to my mind – perhaps because I haven’t been able to find a more succinct and beautiful way to describe the amorous relation between container and content:

You are sleepless sea on the globe of my palm. You breathe and fill me up.

Translated from the Greek by Despina Pirketti




When I was seventeen, I was given a big cardboard box with unexposed photo rolls. Thirty glossy little boxes, yellow, gold and black,  emanating a distinctive dull sour smell of vinegar. Thirty-five millimeter, black and white acetate film, the sell by date just expired. These photographic rolls of film had a purpose, a key element of a master plan.

Black mushroom clouds soar gently upwards, dispersing tufts of dark cloud.             I am looking at black ink spreading in water.

The setup of micro experiment is simple, you need a jug of cold water and ink. Gently release a drop of cool black ink under the surface of the water with a pipette and watch how the ink unfolds in gentle swirls towards the bottom of the glass.  It is like a plume of smoke floating through the air. 

Later on, in my experimentation, when I had improvised a little photo studio with a desk lamp, I found a method of getting the ink to settle at the bottom of the glass and I would warm a small area of the glass with a lighter. The ink heated, and suddenly in what looked like a micro nuclear explosion the black liquid would billow out in a magnificent big swirling mushroom cloud. Through the lens of a reflex camera, I observed how the inky clouds slowly climbed up and stretched out in magical forms and shapes. For about two weeks, each day after school, I set up my modest laboratory photo studio and caught those spectacular mushrooms and dramatic swirling eddies on the photo film. 

An experienced photographer would have told me that the dull smell of vinegar was a sign of acetate film base degradation, and that the film had more than passed its use by date. Till this day I am fascinated by the majestic movement of the flow of fluids. And I am inspired by the motion of steam being expelled from vents in large puffs or by the clouds appearing and receding over the skyline. Videos, computer simulations, drawing, graphics, photography, 3D models and paintings are ways for me to observe the impressive world of the flow of fluids.


What’s Right About The Wrong Biennale?



animation-03It is a strange feeling to get the login codes from someone’s instagram account and post messages as an online-artist-in-residence. Normally, the artist in residence travels to a destination with a bag,  but I stayed at home. That is how it was with the SchetsupResidency. I posted my sketches twice a day and every now and again, my telephone would beep with a message for the curators Sid and Jim. But stranger than the feeling of being at home with a stranger’s account was that this online-residency felt like a real residency. I focused on my art, posting twice a day, I put myself through extra challenges, and got out of the house to photograph industrial sites, I got direct feedback (likes) and I landed up with a body of work that will give me enough material to make some new choices.

On the website gu.pe.hu I put my artworks together, so have a look at the results of the residency. You will find my collection of images in the form of a scrapbook bound with lines and shapes and presented in a SVG format on a one-paged-website.

one page webpage



A SketchUp Residency


On Monday evening I started my SketchUp residency with two images that I uploaded onto the sketchupresidency Instagram.
The SketchUp Residency is a project created and curated by artists Sid and Jim. The participating artist (me) is asked to use 3D modelling software ‘SketchUp’ for the duration of their term of one month.

My research during the residency is going to be geared towards smoke being expelled into the air from vents or chimneys and sketching and buidling up 3D low polygon models. I’ll be posting my material right onto the https://www.instagram.com/sketchupresidency/ so make sure you keep up to date.

And just in case you are wondering…. is this an online residency operated from the comfort of my own living room? Yes and I also go around looking for smoke and vapours being expelled from vents.