Tarte Tatin Photograph

- The displayed pieces are the result of the practical rejection of redundant, sheep and vacuous. The names of the works are an integral part of the works themselves. All of this is intimately related to my stage performance, which integrates the textual and visual dynamic and the musical. Dealing with every object and concept of the world until you make yourself a picture of it, until a sufficient number of variations on the subject occurred as to have allowed for a plausible esquisse of its essence. To document everything lived of the world, to learn everything of the world, a reading bulimia, further knowledge input, in a rush, a quantity. The album "Vernissage" is the soundtrack to those static visual works. Diving into my songs, swimming around their atoms. Sipping the juice of the words that generated them. Experiencing the undistorted purpose of these words, not being blinded by their phonemes. At least not by their phonemes. Ignoring entirely where the sound is going as well as from where and when. Just letting it be what it is. Regarding the album "Vernissage", I've probably made it because I couldn't leave any non-audio work audioless. As some of you know, prices of treated works evolve sharply with each new instance and the attachment I gain for the works over time, which makes it unlikely that any work would reach its maximum number of instances: 10. The works, outside of products like prints, are always subjected to the following treatment: either meditated in front of or slept next to, signed and imprinted with my ear shape. Some of these works were exhibited at the birth place of the Dadaist movement in a solo exhibition - on of the last, if not the last, in its largest hall.