Rien ne se perd, rien ne se cree, tout se transforme

The grid
The Grid as Generator of Form, 2016, acrylic on board, nails, wire, 60 x 80cm[/caption]

‘My paintings have neither objects nor space nor time nor anything – no forms. They are light, lightness, about merging, about formlessness, breaking down form.’ Agnes Marin, 1966.

Grid = repetition = duration = now = timelessness = formlessness = breaking down form = nothingness = lightness = merging = potential  

Coming off the Grid

Grid + Labour  =  Form + Space + time

Relationship between time and space:
Labour = Time + Energy = Space + form

form ⇒ 2D or 3D

Time Mapping


Time Mapping, 2016

Whilst repeating the same gesture over time and marking the gesture with a trace, time takes up space.


On Kawara (Today), Tehching Hsieh (Punching the Clock) and Roman Opalka’ Program.

This idea is part of an ongoing investigation of space and time, during which I am exploring various medium and style.

It is not about boundaries, it is about space and time.

Labour is time and energy and is transformed into form, organic or architectural construction ⇒ first law of thermodynamic: ‘Rien ne se perd, rien ne se cree, tout se transforme.’

Space and Time 2016

Form is Void and Void is Form…


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Random Throw on the Grid, 2017

24 throws of the weaved structure made on the grid last year.

Exploring randomness. The result appears random but there is an element of guidance in my gesture… I need Dice…

From Chaos to Order, 2017

This slide is to be viewed as one piece. From chaos to order challenges the idea of entropy. I am exploring a range of presentations for this idea. With this in mind, I have refurbished a praxinoscope that allows the visualisation of more than one frame at a time with the possibility of going back and forth with the activation of the spin.


Which Coordinates?, 2017

Which Coordinates? is an ongoing investigation that reflects on and questions the validity of Euclidean geometry and consequently the grid.

master grid
Wall Grid,  09.12.16 – 08.03.17, graphic tape, nails, black emulsion, 245 x 190cm

The grid, a regular, calibrated system, a matrix that ables and defines positioning and measurements of objects and people.

Where are We Now? 2017, projected animation, black and white, 3’30”

This piece depicts the contour of the family movements over the Christmas week. I chose that time of the year because it prompted journeys of various scales, from walks to car trips.

This work is a response to Tehching Hsieh’s Time Clock piece and Roman Opalka’s life long work.

It illustrates how ‘Every time is different but also the same thing’ (Tehching Shieh 2014). We follow routines, we stick to pathways, we repeat the same steps time and time again mostly over the same ground, like the hands on the face of a clock. We ‘spend’ the time, we mark it, we experience it, then it stops.


I traced the contour of each journey using morse code to describe the destination and reason for the trip.

The visual representations of space and time are intertwined. There is an ambiguity between the numeric representation of dates and time integrated with the contour lines of the journey and the topographic language that describes land surface elevation.

Each person is represented by a dot as it is what humans are referred to on a cosmic scale. The gathering of people overtime is illustrated by a circular line – one circular line for each hour passed.

Each frames equates to a morse code letter. A total of 725 different frames were captured to resolve this piece, showing the progression of each journey and the gathering of people.

The steps evoked by the morse code mark the passing of time at the selected rate of the animation, as would a metronome.

Time and space are intertwined in various layers.

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