This constant interaction with the fisherman in that specific site and at that specific time, felt as part of a ritual where we meet collect then leave.
I start questioning the idea of control vs. uncontrolled processes. Where we try to control the process and be conscious of what we want to achieve but always reach to a certain state where things naturally fall and take different path. Natural behaviour takes over and control what we wanted to control initially.
I started looking at it where we are conscious of what we collect when we go to the shores and we are constantly doing a selective process of picking certain shells certain forms, which appeal to us more than the other. It is a performance; we reach, we move, we bend, we collect, we walk, and we leave.
What have been collected so far in the process is something not selected and not chosen, it is more of us being passive. Being far from the actual event. I became a spectator and an observer. Those creatures/ seaweeds start to accumulate and draw certain conclusions and forms without my conscious selection. It is more of collecting through another medium where things start to be unreachable and there will be always a moment of discovery and wonder.
My interest lies on these left out structures which is revealed when those seaweeds / creatures move to another landscape and transforms into white yellow fragile structures. It takes over, builds and moves on through different time zones, different contexts. Looking at their micro and macro scale where every system tries to control its existence but a certain factor appears and things grow out of their way and start to transform. It is always important to accept these uncontrollable moments and celebrate the transformation so we become part of it. The work is about setting us apart, pushing us further, and inviting us to be part of it again and accept it.
The moving condition of these nets reflects on the work, where things start to build on and layers start to accumulate and add different opacities. It sits between a piece where you don’t see the actual performance but you are aware of it. You never see the performers in a way, but you will always see the recording of this human action. You become an agent. There is always a state of detachment and distance. Because of this continues interaction and constant transformation, I would never say the piece will reach to a state of completion. I want the viewer to always question if the installation has been left incomplete or whether it will go back to where it existed initially. It is important to place the viewers in that state of uncertainty.
