LAYER is constructed to offer a unhurried contemplation of the banality of the things we pass by every day. The benches with mattresses themselves suggest that you should sit down, lie down. At such a slow pace, the pieces of burned polythene on the wall turn into abstract watercolours or Art Deco lace, the concrete blotches on unfinished walls become lilies on long stalks. The brutal world of building sites clash with reminders of Claude Monet or the decadent salons of the early 20th century. The socially excluded existence of guest workers on building sites is layered over that, which is traditionally considered culture and the polar opposites meet to close the circle. Today’s uncertainty of understanding, like the hazy edges of the blotches and in some cases the total ab-sence of reality, is embodied in the shape of the burned openings or haphazardly splashed out concrete.
The existence of disciplinary, cultural and any other bound-aries are eroded, and the main object of attention becomes a stain, spontaneity and uncertainty, the absence of a single di-rection, global disillusionment. The artist’s object is in seeking beauty in places where it should not exist, a chance look, the play of shadows, meditation on an endless flow of reflection, the desire to give it shape, to emphasise that which is of current concern. The exhibition LAYER creates a personal view of global ruthlessness embodying an idea of the total meaninglessness of what is happening, of the conventions of any limits and rules, and turning towards the beauty of the postindustrial.