SERIES CONTRARY
THE IDEA OF POLARITY.
I BELIEVE THAT NOTHING EXISTS AUTONOMOUSLY. EVERY FORM IS IN RELATION TO ANOTHER, EVERY MEANING LIVES THROUGH ITS OPPOSITE. IN MY SERIES CONTRARY, I EXPLORE THIS TENSION—THE SPACE BETWEEN OPPOSITES SUCH AS LIGHT AND SHADOW, ORDER AND CHAOS, FREEDOM AND LOVE. IT REFLECTS THE DIALOGUE BETWEEN LIGHT AND DARKNESS, FREEDOM AND BONDAGE, CONTROL AND SURRENDER. FOR ME, TRUTH LIES NOT IN CLARITY, BUT IN THE TENSION BETWEEN OPPOSITES.
LANGUAGE AS A DIALOGUE OF OPPOSITES. THE SERIES IS BASED ON THE IDEA THAT LANGUAGE ONLY EXISTS WHEN IT REFLECTS ITSELF. I WORK WITH SIGN LANGUAGE AND A UNIVERSAL SIGN LANGUAGE IN WHICH GESTURES BECOME SIGNS, AND SIGNS BECOME STATEMENTS. THIS VISUAL GRAMMAR IS NOT A TRANSLATION OF WORDS, BUT RATHER A SYSTEM OF EMBODIED SEMANTICS. I AM INTERESTED IN THE MOMENT WHEN A SIGN REFLECTS ITS OPPOSITE, GIVING RISE TO MEANING. THERE IS NO LIGHT WITHOUT DARKNESS, NO DAY WITHOUT NIGHT – AND, FOR ME THE CENTRAL THESIS, NO OPPOSITE WITHOUT A RELATIONSHIP. I BELIEVE: THE MORE CLEARLY THE OPPOSITE BECOMES VISIBLE, THE MORE PRECISE THE MEANING. MATERIAL AND PROCESS – TWO LEVELS OF ONE TRUTH.
TWO LEVELS OF ONE TRUTH. WHILE I DRAW, I PLAY AN ANALOG MOOG SYNTHESIZER. THE FREQUENCIES GUIDE THE RHYTHM OF MY HAND, TRANSFORMING SOUND INTO LINE, RHYTHM INTO FORM. THIS INTERPLAY CREATES A PHYSICAL SCORE OF SEEING. ONE WORK, TWO REALITIES: REDUCED BY DAY, BLACK AND WHITE, ALMOST AUSTERE; UNDER UV LIGHT, THE SURFACES TRANSFORM, PIGMENTS AWAKEN, DETAILS EMERGE. THIS TRANSFORMATION IS NOT AN EFFECT BUT A VISUAL SHEDDING THAT MAKES THE INVISIBLE VISIBLE. IT REMINDS ME THAT PERCEPTION IS ALWAYS INCOMPLETE.
MEANING IN THE INTERSPACE. CONTRARY'S WORKS HANG OPPOSITE EACH OTHER LIKE TWO VOICES IN A DIALOGUE. BETWEEN THEM LIES THE SPACE WHERE MEANING BREATHES—A SPACE FOR TENSION, REFLECTION, AND CHANGE. CONTRARY IS NOT FINISHED. IT IS A LIVING SYSTEM, A THOUGHT ABOUT PERCEPTION, DUALITY, AND THE NEED TO CREATE MEANING FROM OPPOSITES. CONTRARY PRESENTS TENSION AS TRUTH. SHE PRESENTS DUALITY AS FOUNDATION. SHE MAKES THE RADICAL CLAIM THAT THE WORLD IS NOT BASED ON SINGULARITIES, BUT ON THE CONSTANT FRICTION BETWEEN OPPOSING FORCES.
LANGUAGE AS A DIALOGUE OF OPPOSITES. THE SERIES IS BASED ON THE IDEA THAT LANGUAGE ONLY EXISTS WHEN IT REFLECTS ITSELF. I WORK WITH SIGN LANGUAGE AND A UNIVERSAL SIGN LANGUAGE IN WHICH GESTURES BECOME SIGNS, AND SIGNS BECOME STATEMENTS. THIS VISUAL GRAMMAR IS NOT A TRANSLATION OF WORDS, BUT RATHER A SYSTEM OF EMBODIED SEMANTICS. I AM INTERESTED IN THE MOMENT WHEN A SIGN REFLECTS ITS OPPOSITE, GIVING RISE TO MEANING. THERE IS NO LIGHT WITHOUT DARKNESS, NO DAY WITHOUT NIGHT – AND, FOR ME THE CENTRAL THESIS, NO OPPOSITE WITHOUT A RELATIONSHIP. I BELIEVE: THE MORE CLEARLY THE OPPOSITE BECOMES VISIBLE, THE MORE PRECISE THE MEANING. MATERIAL AND PROCESS – TWO LEVELS OF ONE TRUTH.
TWO LEVELS OF ONE TRUTH. WHILE I DRAW, I PLAY AN ANALOG MOOG SYNTHESIZER. THE FREQUENCIES GUIDE THE RHYTHM OF MY HAND, TRANSFORMING SOUND INTO LINE, RHYTHM INTO FORM. THIS INTERPLAY CREATES A PHYSICAL SCORE OF SEEING. ONE WORK, TWO REALITIES: REDUCED BY DAY, BLACK AND WHITE, ALMOST AUSTERE; UNDER UV LIGHT, THE SURFACES TRANSFORM, PIGMENTS AWAKEN, DETAILS EMERGE. THIS TRANSFORMATION IS NOT AN EFFECT BUT A VISUAL SHEDDING THAT MAKES THE INVISIBLE VISIBLE. IT REMINDS ME THAT PERCEPTION IS ALWAYS INCOMPLETE.
MEANING IN THE INTERSPACE. CONTRARY'S WORKS HANG OPPOSITE EACH OTHER LIKE TWO VOICES IN A DIALOGUE. BETWEEN THEM LIES THE SPACE WHERE MEANING BREATHES—A SPACE FOR TENSION, REFLECTION, AND CHANGE. CONTRARY IS NOT FINISHED. IT IS A LIVING SYSTEM, A THOUGHT ABOUT PERCEPTION, DUALITY, AND THE NEED TO CREATE MEANING FROM OPPOSITES. CONTRARY PRESENTS TENSION AS TRUTH. SHE PRESENTS DUALITY AS FOUNDATION. SHE MAKES THE RADICAL CLAIM THAT THE WORLD IS NOT BASED ON SINGULARITIES, BUT ON THE CONSTANT FRICTION BETWEEN OPPOSING FORCES.
TECHNICAL SPECIFICATION
STATUS: AVAILABLE ASSET
EDITION: DUAL-SCALE UNIQUE (1 OF 2)
AVAILABILITY: 1/2 IMMEDIATE SHIPMENT | 2/2 ON COMMISSION (7 BUSINESS DAYS)
TYPE: UNIQUE WORK | ARCHIVAL ACRYLIC ON CANVAS | 4.5 CM - 1,77 INCH PRECISION EDGE
SCALE OPTIONS
STUDIO SCALE: 100 x 70 x 4.5 CM | 39,37 x 27,55 x 1,77 INCH | PHYSICAL ASSET
ARCHITECTURAL SCALE: CUSTOM DIMENSIONS | ON COMMISSION
WEIGHT: APPROX. 1 KG
MEDIUM: ARCHIVAL GRADE ACRYLIC, HIGH-DENSITY PIGMENTS (MOLOTOW)
FRAME-SETTING: ARCHITECTURAL BLACK | MONOCHROME PIGMENT FINISH (RAL 9005 DEEP BLACK)
FINISH: UV-LATENT ARCHIVAL VARNISH (MOLOTOW)
MOUNTING: INTEGRATED HEAVY-DUTY REAR SUSPENSION FOR FLUSH ARCHITECTURAL MOUNTING
AUTHENTICITY: SIGNED ON REVERSE. INCLUDES PHYSICAL CERTIFICATE OF AUTHENTICITY (COA)
SHIPPING: FULLY INSURED EXPRESS SHIPPING WORLDWIDE.
PACKAGING: CUSTOM WOOD CRATING FOR MAXIMUM PROTECTION OF THE PRECISION EDGE
LEAD TIME: 1/2 IMMEDIATE | 2/2 WITHIN 7 BUSINESS DAYS (UP TO 150 CM)
