2 panels 2,30 x 7,00m each
The black and white geometric motifs painted on the panels were adapted from designs in a book of chinese lattices. I used around 900 plastic bags of white candy-floss to cover the black painting, so one could only see the motifs properly when the candy floss started 'dying' inside the bags. The transparence of the plastic plus the blue neon light helped me to bring a spiritual feeling to the work.
To pull the work out of the wall and closer to the spectator, I built an inclined plane with black and white plastic clothesline. It was suppose to dialogue with the architectural elements of the gallery room and it was a play with optical illusions (Op art). Finally, the words on the floor were references to the work itself: mathematic, repetition, kitsch, childhood, gothic, plastic, painting.
My work uses the history of art as reference and painting as a guide to approach other fine-art fields such as installation, photography, scenery design, etc. This current work is an installation which I wanted to evoke the stained glass windows of gothic churches, through faking the transparency of glass. Plus, I wanted to exploit the formal, aesthetic and symbolic qualities of the candy-floss, as I keep looking for extending the limits of the use of non-artistic materials in my work.
The passage of time and death, and the principle that a work of art (lasts, remains?) after us, is another issue brought by this work.