Typically I create groups of objects, and when the elements of these are read as a whole a fictive story unfolds. In every case the individual pieces are the components of a larger scheme and form a very close unit.
I perceive my work in progress as instinctively shaping organisms, that search for justification for their existence and find this justification in gone-by historical eras of art, or current news, to which they can relate to. Thereby the installations are built around constant associations. The final content and form is strongly determined by the materials used, which are usually paper wastes or the packagings of everyday-life's electronical devices such as laptops, led tvs, iPhones, etc..
The fragility of paper is an important aspect for me. I draw a parallel between this quality of paper and the vulnerability of the devices and the digital information stored on them.
The texts on the packages describe the features of the devices they contain. I perceive these descriptions as codes that may become difficult to understand in a the far future. As an extension of this train of thought, I present the various boxes as fake archeological artifacts. My objects become similar to the petrified fossils in museum vitrines or to potsherd findings that have already lost their function and meaning. Just like casting moulds, the seemingly empty objects await to be filled with content thereby reconstructing the meaning once taken from them. But the goal is not necessarily to attain the original meaning, instead its the extension of the content. The boxes remain closed and the dirt and residue built upon it gives way to new organisms. As a new possibility of interpretation: out of this substrata grow the fragile leaves of "paper waste" plants.