Deep Skin, 2005-2006, installation

In Deep Skin, the space of a three-dimensional structure is compressed onto a two-dimensional surface, generating a spatial and tactile array whose folds preserve residues of time and memory, and traces of stories of abandonment, destruction, and desolation. This spatial duration, marked by the relief lines, may be described as choreography of a spatial-historical interplay, where everything that had originally been vital, has been displaced to the new space and is scorched therein. The layout of the three-dimensional space distorts and disrupts the original space, exposing its emotional and associative nerves. The tactile takes the place of the optical, and the forces of gravity replace the presence of the space that is revealed to be compressed and impenetrable. The internal and external space of the work transpire simultaneously, in the duality of the mutually-foreign surfaces, and at the same time – they are fused together inseparably, as if the air around the living body had been sucked out, pressing its entire contents, so that the domestic and familiar (heimlich) are replaced by the uncanny and unheimlich.