In the birds are caught again, the black colour of the previous works has been replaced with the whiteness of plaster and paraffin, and the transparency of glass, suggesting, at a very first reading, through these fragile materials, the inability of movement. At the same time, the whiteness and the fragmented forms leave ample of space for shifts, compositions and revisions intimating that there are inconspicuous and lurking processes at work. Here, fragility becomes a territory of pursuit. Fragments can construct a dynamic relation. Political potentiality can be detected in the broken body and in the refusal to fill in what is missing; the denial of ambition for the whole. Movement (and the movement) rises from precarious areas and their nexus.
Panos Gianikopoulos, curator