Left: "Isolation Tent", 2001, silver tarp, aluminum

Right: "Pill Box", 2003, concrete

MAK Center, Los Angeles

Left: "Untitled", 2002, 28cm x 17cm, paper collage

Right: "O.T. Manual", 2003, Collage of images

Schindler House, MAK Center

Left: "Lab Hollywood", 2002, beeswax, steel, camouflage tape, lamp

Schindler House, MAK Center

Right: "Kiss Me Deadly", 2002, 100cm x 70cm x 6cm, aluminum beeswax, 2 lamps

Props for Home Scenes

The props function a bit like the gas street lamp in the Charlie Chaplin movie “Easy Streets”. The new policemen (Chaplin) gets a fight with big guy on the street and to knock him down squeezes the guy’s head with the gas lamp. The head wrapped with the bent street lamp is extinguished until that point, then, Charlie turn it on. This illustrates a simple method connecting, recasting and reimaging objects for the home, these objects could create a real home or these same objects may become a bit convoluted or spectacular.

"Decoy 3", 2004, aluminum, nylon

Q21 Museum Quartier, Vienna

Left: "Cut Out from 1979-Negative", 2004, 90cm x 150cm, white pencil on nylon

Right: "Misfit Manual-Negative", 2004, 100cm x 150cm, white pencil on nylon

Not every negative(in photography), however, necessarily becomes a positive; Nor is it necessary that every unconscious mental process should turn into a conscious one. (Sigmund Freud)

Left: "Lamp in the Bamboo Garden", 2002, Bamboo 360cm, beeswax, electrical cord, tape

Right: "Soft Cell / Safe Cell", 2002, 140cm x 180cm, aluminum, beeswax, rayon, bamboo stick

Schindler House, MAK Center

"Ventilation Shaft Manual", 2004, Collage of images

Left: "Golder Shower", 2006, 36" x 48", collage

Right "Alptraum(flag)", 2006, framed 28" x 20", collage on vinyl fabric

"Collapsible Monuments", 2005, mixed media

Art Fair Basel, Miami Beach, Art Projects

"O.T.", C-print 48" x 36"

"Pigwelt", 2006, 20 x 22, drawing collage

"Pigwelt Monument", 2006, 10' x 5' x 5', reflectors, aluminum foil, tape

Q21 Museums Quartier, Vienna

By manipulating devices of war and political rallies and part of the radar system from the Second World War era, the viewer indulges with direct aesthetic pleasure through ornate material connected together with aluminum pipes and silver tarp. As with previous work, floating installations transform our perception of space and disrupt the purity of the modernist white transparent cube, nodding here towards the spectacular and the baroque.