Metod

"One can gather materials by looking for that which has lost its original value, hoping to obtain a second hand value, even when a monetary exchange is replaced by a labour exchange (removal). But the lived-in-value is not a minus, when looking for a lived-in veneer; aged whites turning into hues of off-whites – a painterly patina of prosaic life. Nowhere in this structure you’ll find a ‘pure’ white, and yet it alludes to white as a concept. It is a clear and present, stark and absolute structure that acts as a formal position. Its former use value rendered useless; now a display of display, a unit; a white cube. Appearing modern (so far as its useful as a descriptor as a collective ambiguous concept) but in fact assembled by ‘collectors items’-measurements (60 cm long out of production), a 90s remnant, thus practically antique in our calendar. Both familiar and formal; a former ‘standard’ appears unconventional because of its extreme presence. The modern object, liberated by the loss of its function. A coin is another serial object, produced en masse, existing in abundance, and yet collected. Collected through time and its shifts in currency, as value abstracted from its original value. Subjective value replaces objective value – even when worthless, it can be priceless to somebody. A work inside the wall is the literal antithesis of a wall hung work. It holds within its being, a demand for destruction, not decoration. It is neither rare, nor unique as an object alone, even though it is old and out of circulation, it is rare and unique because of its subjective change of value. Objects so familiar and banal shift through this subjective symbolism into an object that abstracts its original material. It is not, now, a shelf, it is not, now, a coin, and yet is so clearly still a shelf and it's so clearly still a coin.”