[TL;DR: piece made from old paintings rolled over supporting/protection tubes.]

when i first thought about this work, i had in mind limitations.

there are limitations on how one engages with a(n exhibition) space, starting with hanging devices to ways of encountering objects, just as the space of a canvas possesses its own: one has a certain surface area to engage with just as much as certain volume space to move. therefore, by using old paintings not previously shown, and molding them on various tubes (used for protection or support of the canvas), i also chose to limit the view upon them. one can engage with fragments, bits, cut-outs, stripes from them but not the entire picture. to re-question a medium nowadays seems redundant; while many other things happen, to revisit the ‘art things’, may seem somehow silly, as well as to think that one can redefine what has been already re-re-re-re-redefined.

it may seem as silly as (duncan) grant’s ‘abstract kinetic collage painting with sound’ was considered by a peer at the time of doing, a work made as a moving installation – a long scroll meant to be moved on a specific music, but which was left for more than 30 years rolled up, on a tube.

* the title isn’t intended as an hommage to the original work, but a marking of a random encounter with a story, while doing the work and browsing the place where art truth lies**: tate.

** paraphrasing malkovich in the infernal comedy, as he sarcastically states about wikipedia (‘the place where all truth lies’).

[2022, shown within the In the Beginning IV exhibition, curated by Stoyan Dechev, @UBA, Sofia, Bulgaria]