As the video above shows, this work is done by pounding my fist in the wet filler.
The work wants to delineate the limits of dialogue within democracy and politics. Compromise and bargaining are standard tools in the craft of decision-making. Still, with more pressuring issues, it can be essential to define the lines of conflict to reveal the underlying struggles between suppression and privilege.
It also emphasises the topic of non-platforming, which means that confronting opinions that are directly harmful to discussion and dialogue can be self-damaging and contra-productive, not only for the recipient but for the climate of debate.

This work is part of a continuous series, meaning that I will produce new versions by the same method on demand. They will look similar but still function as individual works, documented and numbered in my work. This approach is part of the work's conceptual framework.
Please note that the delivery of this work will be a week slower than regular.

This series consists of works with impressions from pounding the wet filler with my fists. Pounding can be a way to process and shape a physical material. The expression "to pound the table" means to assert one's opinion or to protest against transgressed or threatened boundaries. This points to a convergence between artistic production and political activism, to insist on attempting to bluntly shape a (reluctant) reality according to one's will.

Res Ipsa is a compilation of works made by an act shaping the filler once it is prepared inside the frame. Thus, they function as a recording device and document the event while the filler is still wet.

Res Ipsa is Latin for "the thing itself" and is part of the juridical term "Res ipsa loquitur" (the thing speaks for itself), used when an injury or accident in itself clearly shows who is responsible, such as an instrument left inside a body after surgery.