This sculpture, a testament to the transformation of everyday materials, is made from my empty filler buckets stacked one inside the other. It embodies the remains and traces of our daily actions, which constantly fall to the ground, only to be slowly and carefully deposited by time into layers that become sediment. Even our bodies, in their material form, are piled on top of each other throughout history.
My preference for using materials that already exist around us is further heightened when I can utilise the leftovers from my artistic process. The satisfaction derived from this act is profound, as these materials are not just remnants, but are somehow already charged with time—time spent working and time that exists around it—thoughts, reflections, intuitive impulses, dreams, and rest.

The title of this sculpture is a quote from the painter Ad Reinhardt, a nod to the profound influence of language and psychoanalytic theory on my artistic expression. We exist in a sphere structured by language, and looking at pictures is primarily a linguistic activity. But language is always embodied in physical matter, and sometimes, the concrete breaks through the illusion of language and throws us headlong into the uncontrollable reality of the material. What psychoanalytic theory calls the Real. No matter how hard we try to get an overview of life, the condition of language is precisely its limitation. The map can never be the same as the terrain. Language frames, divide and discard. We always lose something, but it comes back to us through mistakes and surprises. The unexpected momentarily disrupts, opens and changes our existence until the window closes again when language covers the incomprehensible and makes it understandable.