If separation or detachment involves violence, a connection can produce the maximum explosion.
“Incessant Buzzing” began with the question: what would happen if three independent works were linked? Would the link produce a change of the work’s environment, different or greater from the one established when each work stands by itself? What forms and objects will emerge by this action and, what will be the number of allowable interventions on these three works?
The three works emerged from the idea of extracting a line from a two- dimensional surface and allowing it to expand into space in order to examine it as a three-dimensional object. Constructed with canvas dipped in pigmented plaster and aluminum wire, the three-dimensional line acquired volume and malleable qualities. The result bears a resemblance to a live cable. Based on this quality of a three-dimensional line, the three works produced environments which are dangerously charged.
“Incessant Buzzing” continued with the idea of the unfolding of a three-dimensional line. New materials were introduced, new forms and objects were added while new connections and detachments occurred. The first three works ceased to be self-referential and developed new dynamic relationships with the new gestures and objects. Their connection, however, is not compact. Decoupling elements are present. All elements and gestures define their own “space”. They work together and independently from each other at the same time. Thus the second key question of the concept was addressed: how to express the idea of assembling multiple objects/singularities for the development of an environment in which each one maintains its uniqueness. The individual pieces of “Incessant Buzzing” maintain their autonomy while working in synergy to define a common and perilous environment.
