The fortune cookie–like form creates a contrast between predetermination, suggestions, and guidance. Through the openings in the sculpture, it becomes possible to insert wishes or messages. Rather than receiving meaning by chance from an external source, the work invites participants to compose and place their own “fortune,” shifting the idea of luck from something given to something actively created.

The installation looks at memory, remembering and the brief moments that go with it. In my own case as well as in the case of others, I have noticed that stories change depending on the person who tells them and the factors that influence them. The stories fit together in one way or another, so what was the true or original one, and is it really necessary to know?
In the drawings, some places have been gradually repeated, changed, simplified, reminiscent of a rearrangement of a garden. Some parts are spaced apart, leaving abstractly filled or empty spaces in between. Following the order of the drawing process, the following text is written on the back of the images:

Layers of paint and plaster are scraped off gradually, one from atop of another. The surface loses its usual restrained appearance and crumbles away in pieces and dust. Smooth surfaces, once considered finished results, revert back into an unstable state.

I depict a building that is worn by time and people. I’ve been scraping the walls, floors and ceilings of this building to find out what used to be there. Who lived there? What made people move? Why was it abandoned in the first place?

The building is now under the care of new people. Near the entrance are hoses that pump water out from under the floor. Where you can walk, you have to be careful of sharp nails and objects. In the midst of all this, the perception of a period of time when things will improve seems overwhelming.

On the edge of all the surrounding chaos is a vacant armchair.