Category : A2 – Sculptural Painting

A2 – The Spatial Box

  • A2 – The Spatial Box
  • A2 – The Spatial Box
  • A2 – The Spatial Box
  • A2 – The Spatial Box

The Spatial Box

In this second attempt I will try to work out a sculptural painting as a reflection or better documentation of my object-box experience. A sense of displacement and spatial expansion. One main point that I am going to tackle here is my obsession of holding onto the box and the objects. Staying aside of me, unfolded, and being uncertain what to make with them, as throwing away would be not ‘fair’, my obsession seeking a painterly ending. I would need to take it out and to incorporate into a new work, a work that can release itself into space.


Inspired by my travel life and initial object-box performance of opening the box and a step by step removal of objects, a spatial and temporal displacement.

Question on how to paint, paint in order to make each object ‘exciting’ or to paint over and across to disguise? Or to pour over with paint, to disguise in an archeological sense making the collection as such useless, another dysfunction? Taken some references to Candice Lin A Hard White Body from the project Performing Objects (Enough Room for Space, 2017), where she ‘invokes his­to­ries of exoti­cism, virology and global trade’. 

Idea #1: The Flexible Wall-Box

Initially, I started with a suitcase, I replaced it by a ready-made packaging box, and eventually found it a good idea to make also a replacement item for the box (Fig 1), cardboard replaced by canvas – bringing it back to origin of painting. The incremental dysfunctional appeal makes the box quite ‘useless’.(how to fold and keep it stable?). 

Stefan513593 -A2 -prep fabric box

Fig. 1: A2 – prep fabric box – cardboard box replaced by canvas box  – a step towards more dysfunction

The left one moved into my ‘Collage Combine‘ and the right one led me inspired for a more wall-based painting sculpture (Fig. 2), kind of merging the flat canvas and the spatial box together in a new work.

Fabric Wall Box #1

Stefan513593 - A2 - prep - Object Box Sculpture

Fig. 2: Fabric Wall Box #1 – a collection of objects form the box re-arranged as a relic, object painting

=> a quite loose and rather intuitive approach to placing rather than arranging. Objects that intrigued me, and items still left on my work-table, in my object-box (as many already moved into other works). Things seeking a home, establishing new relationships. Reminding me of my own relocation experience, more than once, moving to another place, new relationships.

Derived ideas and questions:

  • Possibly some reference to John Latham, especially Belief System, 1959 or Great Noit, 1963. He expressed that for him all artworks are ‘events’ (Lisson Gallery). In that sense my sculptural painting could be considered as an ‘event’, probably as a memorial event of past actions.
  • A question of frame and boundaries. The item at the bottom as a spatial expansion.
  • A question of how to see the canvas: a painted canvas as object, or as a painted object. Overall, a still-life that only makes deferred reference to process and actions.
  • A question wether this work could related to ‘useful’ or ‘useless’, or just a work speaking for itself?
  • A very random assemblage that most likely would trigger all sorts of imaginations. But also a reduction of context. How far to reduce? Or how far to condense, i.e. bringing multiple objects, fragments into one place?


The box in transition from an objects, the canvas overthrowing its existence as a mere support. The assemblage of objects as an indexical memory, but also as an iconic work in context of fetishism. And about how we establish relationships, objects as subjects? 


As Marx stated once:

“Could commodities themselves speak, they would say: Our use value may be a thing that interests men. It is no part of us as objects.” – Karl Marx, 1867

Objects do have a reason to be, a life in itself. We as humans just need to build a relationship with them, our attention to them is driven by desire and fascination for its own sake. I hope that my some of my works can address the process of raising awareness. Objects will speak for themselves – the more dysfunctional the better. 


Trying to appropriate the fabric wall installation with a cardboard, painted, collaged with objects, folding and stepping on it, unfolding, installing (Fig. 3). An ‘event’ and happening, my physical engagement being present, what is left are traces and indexical signs of my actions, a visual result of action painting with objects, letting them speak.

Action Wall Box

Stefan513593 - A2 - Wall Box Sculpture #2

Fig. 3: Action Wall Box – Cardboard approx 100 x 50 cm (collage, acrylic paint) – installed on the wall, lower part advancing

Eventually, I revisited my ‘fabric wall box’ once again (Fig. 4). Re-arranging, objects moving inside the frame, a difference in expression and sense making.

Fabric Wall Box #2

A2 - Wall Box Sculpture #1

Fig. 4: Fabric Wall Box #2  – approx. 73 x 42 cm (canvas, acrylic paint, collage)

I decided to leave the two ideas or concepts Fabric Wall Box #2 and Action Wall Box aside and as they are in their own expression and existence and to move on with my thoughts of archive and display, a thought that bothered my already in my other approach of Object-Box.


Idea #2: The Preservation Box

From my previous approaches the question came up whether the objects and the box are a reflection or action of conservation or preservation in an archaeological sense? Looking up the difference (Museum of Ontario Archeology): conservation = hands-on, preservation = non-invasive. My approach might be seen more in the sense of preservation, keeping human impact away from destruction, what in the case of packaging materials seems quite contradictive, With some inspiration from Candice Lin’s A Hard White Body, 2017 I worked on various assemblages to protect, to preserve or rather to encapsulate the objects as relics. What disguises them as well and resulting in a different, very textured work (Fig. 5)

Stefan513593 -A2 -prep preservation box

Fig. 5: Preservation box #1 and #2 – encapsulation with paint, preserving of things, disguise and conceal – each 30 x 40 cm (acrylic paint, collage)

I used the ready-mades packaging things that I used for my initial object-box (those still left) plus some spare items I collected aside. The arrangement was rather randomly, and I responded to what I could see was happening in front of me. Working on a table with a primed, still wet, paper.

Derived ideas and questions:

  • Kind of archeological preservation, past memories of my interrogation with my initial object-box. How can this add meaning to the subject?
  • Through the encapsulation and concealing of certain features of the items with paint, the entire work becomes a new object. A new skin, something to collect, preserved for the future, and possibly to move around as such. Before, I was wondering how fragile my works would be and that those were rather temporal works, e.g. the cut-out collages. Here, I fond possible way to keep them.
  • The paint is layering and embedding the items, it also can be seen as contaminating action. Kind of covering with dust, e.g. reminiscence to ancient places as Pompei, buried after the eruption of Mount Vesuvius. One could see the ‘burial’ also as the impact of bad biodegredablity of plastic packaging materials I used.
  • As I used paper I am wondering how it would change if I use perspex as background. Inspired by my earlier experiments with installation of objects in space and the multiple perspectives, this might add a new dimension of looking at or partly looking through. Not completely covering and concealing but a space of visible and invisible information.




Concealing and covering of objects in a sense of anthropological study of human relationship with mundane, neglected objects.  Also as the metamorphosis and transformation of things into new objects. The viewer could try to discern individual features or items. The aesthetic appeal of the new ‘artworks’ could be seen as items in an archive, to store and to revisit after some time. Objects void of initial function or use. We use them as our memories.

Development of varieties (slider):

Stefan513593 -A2 - preservation box #1
Preservation Box #1
Stefan513593 -A2 - preservation box #2
Preservation Box #2
Stefan513593 -A2 - preservation box #3
Preservation Box #3
Stefan513593 -A2 - preservation box #4
Preservation Box #4
Stefan513593 -A2 - preservation box #5
Preservation Box #5

The items no.4 and no.5 are made with air filled plastic box stuffing, adding an appeal of ‘please touch’  (some reminiscence to Duchamp’s  ‘Prière de toucher‘ , 1947)

I liked the concealing effect of paint, uniforming objects that seem to be rather isolated. Paint defers meaning, makes objects into an archive of found items. Each piece could be possibly seen as an imprint of an action or event. Possibly as a topology and anthropological investigations, reminding me once more of Mark Dion and his work Tate Thames Dig, 1999 – a drawer cabinet build and organised with each drawer a presentation of collected objects, placed in order and system. My works are mostly less ordered though.

I tried one more sculptural painting with different layers of paint, only a few but more repetitive items (styrofoam) and using the effect that spray paint melts styrofoam. 

Stefan513593 -A2 - preservation box #6

Fig. 6: Preservation box #6

=> This ‘preservation box’ completely transformed now in a plastic box, a pure artefact and preservation of packaging materials. I do feel that I lost here the sense of my object box. And compared with my previous one a bit to regular in composition. Possibly to re-make it with brown and/or white paint, to get closer to #1 or #2.

Final result:

Stefan513593 -A2 - preservation box #6 - repainted

Fig. 7: Preservation box #6 – repainted – with a handle and partly melted styrofoam items – approx. 37 x 50 cm (acrylic paint, found objects, paper, plastic sheet)

I feel that the brown hue relates the work more to anthropological and archeological studies, the brown for earth color, kind of digging out from the ground. A trace of human culture.

Side learnings with working aka painting with styrofoam: not only spray paint melts it but also hot air blower (what I used to speed up drying process). Means I can sculpt with a material that otherwise has a very bad biodegradability. 

The most successful works from this series:


Idea #3: The Two Side Box

The idea of preservation and archive or drawer spaces let me revisiting my earlier experiments of multiple viewpoints and installation of translucent support structures by adding my items on perspex. Responding and envisioning the backside of things, looking and playing, arranging and painting ‘activators’ and ‘uniformers’ on the assemblies created.

Painting with objects on perspex is a twofold exploration. What I am doing on the one side, is not known on the other side and vice versa. Making the invisible visible. As a paper or canvas support conceals the backside, perspex makes it visible. An archive drawer is always one top view perspective. The objects being looked at. I was wondering whether a perspex, two side approach might bring the objects more ‘alive’ and giving them more space to perform its visual presentations.

Stefan513593 -A2 - two side box #1 - two sides

Fig. 6: Two side box #1 – two sides, front and back / back and front – each 30x23cm 2mm perspex (collage, acrylic paint)

Development of varieties, photographed from two sides of the work on a lightbox (slider):

Stefan513593 -A2 - two side box #1 - front
#1 - front
Stefan513593 -A2 - two side box #1 - back
#1 - back
Stefan513593 -A2 - two side box #2 - front
#2 - front
Stefan513593 -A2 - two side box #2 - back
#2 - back
Stefan513593 -A2 - two side box #3 - front
#3 - front
Stefan513593 -A2 - two side box #3 - back
#3 - back
Stefan513593 -A2 - two side box #4 - front
#4 - front
Stefan513593 -A2 - two side box #4 - back
#4 - back
Stefan513593 -A2 - two side box #5 - front
#5 - front
Stefan513593 -A2 - two side box #5 - back
#5 - back
Stefan513593 -A2 - two side box #6 - front
#6 - front
Stefan513593 -A2 - two side box #6 - back
#6 - back
Stefan513593 -A2 - two side box #7 - front
#7 - front
Stefan513593 -A2 - two side box #7 - back
#7 - back
Stefan513593 -A2 - two side box #8 - back
#8 - front
Stefan513593 -A2 - two side box #8 - front
#8 - back


Not all are very successful, to make a convincing composition for both sides was challenging. The more successful ones were # 1, 3,  and 2 – as a combination of traces of human culture and painterly activation alongside an ambiguity of making sense of both side visual information. I am wondering how much space inside the perspex frame would be needed, or whether the paint should be the translucent plane.

Stefan513593 -A2 - two side box - selection

Fig. 7: Two Side Box – selection (one side view only) – more or less translucent or opaque

With some rather incidental installations I found that backgrounds other than light could have a different effect, as if the background would belong to the work, uniforming or combining to a whole (Fig. 8)

Stefan513593 -A2 - two side box - display ideas

Fig. 8: Two side box – display ideas – background as part of the work (hindering to look from the other side)

I feel the more successful works are those that play with both sides with a sense of ambiguity, of edges and shapes. Where one wants to look once again on the other side of it to understand, to make sense. It is this sense of uncertainty of looking and bringing parts and pieces together alongside an entry point to engage the spectator. The artefacts as ‘fetishes’ might work as part of a whole series, as a comprehensive collection or survey, but in itself they are less successful. More thoughts coming up – more work to develop further.


I explored three varieties of re-applying my objects from the table, my object-box. Through a space aka wall installation with collaged objects by painting through mechanical treatment of a ground (ie. the canvas and the cardboard were stepped onto, embedding traces from my direct environment), a preservation approach by pouring paint over objects to encapsulate them, and by playing with the transparent feature of perspex to reveal invisible sides of objects placed and arranged. 

Those approaches are not finished works, still spatial sketches, a way forward to new idea of painting in space?

Key aspects:

  • Preservation as transformation of objects, paint as medium to conceal and to defer meaning
  • Wall or installation in space as an object for contemplation, to look at in a perhaps conventional sense. 
  • Creation of new objects from things, painting as an exploration of relationship between those items and as ‘activators’ or ‘uniformers’.
  • Sense of simplicity, and revealing new meaning through disguise.
  • Sense of ambiguity through displacement of visual information on two sides (see perspex ‘Two Side Box’)
  • Painting as embedding traces, indexical sign for artist’s presence, leaving artefacts to collect, to show.
  • I like the idea of painting as ‘event’, as expressed by John Latham. A place as happening for new creations of things.
  • In all works the viewer can rest at a fix point. Question how to incorporate movement? And how to engage with the spectator at a ‘human scale’, i.e. a real time entry and connection. The first idea of Wall Box the most human scale, facing the spectator at eye level. The second Preservation Box could be placed either on a table or hanging on a wall. the third Two Side Box as an archive inviting the spectator to take out and to look
  • Overall, all three approaches tackle different aspects of Object-Box and mundane things. Certainly, all are studies and not fully developed works. A funnelling down still to be required.

My pre-selection for assignment:

  1. Fabric Wall Box #2
  2. Preservation Box #2
  3. Two Side Box #1

=> I find these the more successful ones for its sense of ambuity, space, composition, and using paint as activator or uniformer.


Next steps:

Movement and various viewpoints – a future continuation & development

The works on perspex need a moving spectator to look at both sides. To push this further I could envision to place them in a box, like an archive, a way as I’ve seen at Theaster Gates in Basel and his massive ‘Black Madonna’ Facsimile Cabinet of Women Origin Stories (2018), 2695 images from the John Johnson Archive, all framed the same size and placed in a large cabinet. The viewer was requested to put on white gloves and to take one by one out and to look at.


For me the notion of archive, collection, new space in the context of mundane objects preserved for future contemplation makes it quite intriguing. Placing those cultural artefacts in a cabinet would make them precious, a notion of cultural appropriated fetishism.

Some sketched ideas of archive installations of the ‘perspex’ artefacts. A two side view of one perspex turns into a multiplicity of views through the cabinet approach.

Stefan513593 -A2 - two side box - archive idea - sketchbook

Fig. 9: Two side box – archive idea – sketchbook

what resulted in a functional maquette:

Stefan513593 -A2 - two side box - archive maquette

Fig. 10: Two side box – archive maquette

Intentionally made from a found cardboard box, covered with canvas, raw and instead of being painted on it (though I added some paint blots), it is covering, concealing or storing the painted objects (each one in itself an object of painted items). Not all items fit in well, the edges of the perspex support dictating the fit-ness, parts hanging over are a barrier. Wondering if to make it completely out of perspex would be more successful, less concealing, more revealing and exposing. For an exhibition it would need a more accurate made. More thoughts and time possibly to spend on the outer surface, painted or not.


The other question relates to working more in a three dimensional space, a work that builds on above explorations, embracing an moving spectator and expanding the features of the objects beyond its initial meaning. Although my archive idea brought the relief style painting-collages into a wider space, I would have still the other idea of bringing the painting as sculpture into space for the spectator to engage with with full body presence.

I will not have enough time to explore this deeper, I sketched out some ideas, for future reference and possibly to come back to it. Based on the idea of getting rid of the box – the Object-Box, to let it explode in space, suspended from the ceiling, artefacts, relicts to walk through. Combined with suspended objects. An approach inspired by Cornelia Parker’s Cold Dark Matter: An Exploded View (1991) . It would resonate somehow with what I did for my human scale Walking Through Painting in project 2.6.


Stefan513593 -A2 - Space - ideas for exploded box . sketchbook

Fig. 11: Space – ideas for exploded box . sketchbook

I will postpone these ideas for part 3 – to consider the human scale and performative body as integrative part of the work.



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A2 – The Object Box

  • A2 – The Object Box
  • A2 – The Object Box
  • A2 – The Object Box
  • A2 – The Object Box
  • A2 – The Object Box
  • A2 – The Object Box
  • A2 – The Object Box

The Object Box: A Useless Thing – exploring options

One of my two ideas I want to proceed with for my assignment is the Object Box. A box of items that the beholder can engage with, driven by curiosity to open and to unfold, and desire to make sense out of it. Inspired by my travel life and initial object-box performance of opening the box and a step by step removal of objects, a spatial and temporal displacement.

I would consider this as a sculptural painting and a display of objects questioning the notion of a painting as an object. This might be seen in the context of Marcel Duchamp’s (1935-41) Boîte en valiseDuchamp’s work is a collection of items made by him  in the past, alongside one original piece (he made a limited edition of 20) and addressing ‘museums’ ever-increasing traffic in reproductions and question the relative importance of the “original” work of art. (The Museum of Modern Art (1999). For me, it is not about institutional operations, but more about the experience and question how we build relationships to objects around us.

Another source of inspiration for me is the work of  Bianca Baldi (2014) Zero Latitude.. Her work can be seen in context of colonialism through leveraging the aesthetic appeal of the Louis Vuitton’s Explorer Bed produced in the 19th century. The physical action of unfolding as a conceptual deferral to the colonial endeavors by De Brazza’s journey along the Congo River. The Vuitton Explorer Bed imagined and commissioned for him. The void of the background to decontextualise and to bring forward the aesthetic appeal of the performance as an interesting feature for displacement and triggering imaginations. The unfolding of the bed not as a representation but as an object to be experienced as such.

Objects can became cult, precious collectibles, or just trash for the bin. What makes us to decide what to do what? Is it context? Is it cultural convention? What about emotions and human conditions of curiosity and desire? An aspect that I can related to Mark Dion‘s exploration exhibited at WhiteChapel Gallery (‘Theatre of the Natural World‘). 

And last not least, objects, dysfunctional things can become fetishes. My relationship with found objects became since my initial making of my object-box as a replacement for my suitcase as constant interrogation and intimate exploration. Neglected objects became meaning through painting them out, through performative arrangements and through placing them in exposed places.

Here my various approaches seeking for sense.

Idea #1: Collectibles

The following installation of made objects  can possibly show a more precious appeal of ‘nonsense’ items. Possibly with the right text underneath a nice statement in a ethnographic or anthropological museum. 

Stefan513593 - Ex 2.5 - Making - box size 2

Fig. 1: A4 – prep – Made box objects in display

Derived ideas and questions:

  • A make of useless and dysfunctional items, a sense of displacement to keep
  • A display: To show it like this or to engage the spectator into making, arranging it? An object or a process?

Objects – packaging items – made from packaging materials – skin of commodities  – after commodities taken out and away a void is left – the void articulated through the objects of no-desire.

For Karl Marx commodities are fetishes, objects valued not by its use-value, but by exchange value and disconnected from labor involved to make them. Very much what happens with art works. 

“Every product is converted into a social hieroglyphic” – Karl Marx, 1867


Therefore also dysfunctional objects can be of value, and no object is not ‘useless’ enough to be not considered for further exploration. Hence, my object-box makes sense in a cultural and social setting. The question of still-life versus arranging as a process are two ways that I need to find out.

Idea #2: The Surprise Box

Or just go ahead with my initial feeling of making a box for others to see, to play with? Simplicity, and a showcase of my own learning shared with others? Some initial ideas of appropriating the OCA box (Fig. 2)

Surprisingly, I could see some resonating elements with my previous works (color, text, context):

  • the red ‘activator’ 
  • the labels, barcodes – perhaps to add QR codes with my videos?
  • the ‘urgent’ indication, always something I found amusing, giving art a high priority
  • the red tissue resonating with my red dog poop box
  • it is a box shipped to my place, part of me and what I did – appropriating the box seems to be a fascinating aspect re giving back to community aka OCA (for ‘Showcase’)


Stefan513593 -A2 - prep object box - OCA

Fig. 2: A2 – prep object box – OCA   – an appropriation to give back, to share, as a non-didactic, entertaining approach to exploration and sensations


Derived ideas and questions:

  • The dog poop bag as medium for writing some instructions. To write on a a ready-made bag or to make my own bag?
  • The cut out collages as a collection and invitation to play with. To use the materials I used (index of my artistic intervention, charged with power from past exercises as a fetish, a relic?
  • Overall, a very process based work, The active engagement and arrangement by the spectator out of control, arbitrary. What could be seen as a metaphor for the ‘death of the author’ and how dependent a artwork is based on the spectator’s experience and interpretations.


Some aspects that is relevant to my work and distinguishes from Bianca Baldi and Marcel Duchamp:

  • A relationship to daily objects around us and how we establish a relationship and appreciate value
  • A connection to global trade and colonialismas Baldi  sees it in her work, of less importance. Though these connotations might come up with some viewers.
  • Possibly a connection to packaging materials as useful materials trashed, a notion that could lead up to ideas of recycling (what I am doing), ecology and sustainability relating to themes as plastic trash in the oceans. An entertaining approach here is the Plastic Soup, that even distributes an app for tracking one’s own plastic footprint
  • I do not intend to place my work as a critique of one or the other. Although, this might also come up. 
  • Question how far I am moving away from Duchamp’s notion of ‘museum in a box’, embracing more the playfulness and awareness of interaction than a deferred reference to art spaces.
  • Most important feature for me is how I connect with the objects and establish relationships. Objects performing through a sculptural painting. Objects that possibly could be connotated with fetishes.

I am aware that those connotations with whatever I will come up with might be triggered – or not. When it is out, it is out.  Feedback received from peers through two hangout events suggested more a magic, entertaining aspect rather than a critical.

Here, I will bring together ‘Collectibles’ and ‘Surprise Box’ into my final ‘Paint4OCA’ box .

Object-Box: Paint4OCA


Stefan513593 - A2 - Object Box - Paint4OCA

Fig. 3: A2 – Object Box – Paint4OCA -Sketchbook ideas

  • Paint: what and how? => decision to scale-down my larger walking through painting from exercise 2.5, by that colors also chosen
  • Scale & installation: how to get clarity on how to unbox and re-box? to unfold and to fold?
  • Arrangement: a box to unfold, a smaller box embedded in the bigger box (matryoshka idea, also a new another level of engagement in space and as time-based performance)
  • Instructions? what to give and what to support with? 
  • Unfolding: in a sense of expansion and development (of curiosity, play, joy)


Display, Discovery – both words a mix of different connotations

       DIS: disorientation, dysfunction, displacement

               to COVER: to conceal, to hide, to cover up, to box 

                  to PLAY: to play, to enjoy, to entertain, to relax

        a title – a theme – a site:



I continued step by step, discerning how many objects I want to put in, how to paint them, how to paint the ground and boxes, and how to makes sense in ‘building a box’. I felt that paint and painting objects out supported me in finding a way forward till a final result.

A sequence of painting progression, arranging, and organising (slider):

Stefan513593 -A2 - object box - PAINT4OCA - #1
Step 1
Stefan513593 -A2 - object box - PAINT4OCA - #2
Step 2
Stefan513593 -A2 - object box - PAINT4OCA - #3
Step 3
Stefan513593 -A2 - object box - PAINT4OCA - #4
Step 4
Stefan513593 -A2 - object box - PAINT4OCA - #5
Step 5
Stefan513593 -A2 - object box - PAINT4OCA - #6
Step 6

The unfolding of the box as video with kind of instructions

The unfolded box with staged objects – reminiscence to my previous large scale Walking-Through-Painting:

Stefan513593 - A2 - Object Box - Paint4OCA - Unfolded and staged box

Fig. 4: A2 – Object Box – Paint4OCA – Unfolded and staged box

The unfolding of the smaller box – the Cut-Out Box:

Stefan513593 - A2 - Object Box - Paint4OCA - Cut-Out Box

FIg. 5: A2 – Object Box – Paint4OCA – Cut-Out Box


.. and a inventory list accompanying the box:

Stefan513593 - A2 - Object Box - Inventory

Fig. 6: Object-Box – Inventory

With that the box is complete – it will be submitted as assignment piece and for OCA Showcase (see separate page)



  • Questions about performing objects, unfolding boxes, establishing relationships with objects that could be possibly connotated with fetishes surrounded my work. 
  • A sense of play and entertainment was intended. The process of unfolding as important as establishing a display, even not more. The final ‘painting’ becomes just one way of making, a difference in itself, a multiplicity of ideas generated by the spectator who wants to get involved. 
  • I am aware that I moved away from a display only (step 1 in above development sequence , slider) and moved towards a more engaging playful unfolding of a box, bringing the spectator into objecthood of the work – and in relation to one’s awareness of interaction. The idea of display and archive might be worth to look at, one thing to tackle differently in my Spatial Box
  • Objects as collectibles or as things to play with and to trash them afterwards. What changes with painting beyond a mere design aspect is a different level of understanding how I do relate, and possibly how the spectator will do relate, to them.
  • Found objects can be transformed into new objects, the original purpose (packaging material) disguised and concealed. Painting allows a different attention, bright colors are more ‘interesting’ than mute or grey colors.
  • The idea of a wider impact of the works need to be seen as it allows a reading on different levels: 
    1. Play
    2. Unfolding driven by curiosity
    3. Interaction with dysfunctional objects to make sense
    4. A detailing of instructions and display associating with archive and stored memories
    5. The box, a ready-made as container for painting
    6. Objects as fetishes to build a relationship with




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