During the making of an art object, some projects unfortunately
never see the light for many reasons. I sometimes work on a
project that I had left untouched for many years. What interests
me then, is to experience once again the creative process,
by letting time pass between the first documents of a project
conveying a certain idea, and the introduction of a new experience.
The work on the holes presents the fragment of a project that
shall always be in progress. The first trace of the holes is
a rather basic model of an imaginary room that was to be completed
later at full scale during an exhibition. One could see in the
model, plastic piping between the interior and external walls
that was connected to a pump. This device was supposed to enable
the liquid flow along the walls and then onto the ground.
The holes are a graphic image of true holes that were drilled
into the walls of the room. The holes are trompe-lil
that mislead no one because they are the universal representation
of a drawing of a hole. They are the most recognisable elements
of the initial project. On the scale of the model, they indicate
that something could happen ; they had a functional and descriptive
purpose. On the scale of reality, they were to become the disturbing
elements of the mechanism ; it is from them that the liquid
was to flow. Finally, on the scale of the fragment, the holes
are now stickers that suggest gigantic and improbable walls.
They have become patterns that restore a sensation. They place
the spectator inside an alternative space to the museum, the
domestic space for an artwork.