We are facing semblant, deceitful evidence. On the face of it, this work is an incarnation of a concept beyond the plot, realization of a purely technical task: reproduction of a bidirectional scene in three dimensions.

But if it were only that, the work would be a question without an answer, something that is contrary to art.

However, the sight reveals that there is something more to it. And even if only that, the question remains: how is this possible? How can one understand, how can one see any coherence between two absolutely opposite tasks? For we are speaking of extracting characters out of the plastic system, where they exist only due to maintenance of necessary connections with everything around them.

Thus, the artist begins on an audacious project of breaking off the unbreakable.

Thus, monumental character of a work is mainly determined not by its concrete dimensions, but by its paradoxical character: it is simultaneously this thing and not quite this thing. So, a work as a gesture is at the same time the impossibility of the gesture. It is this contradiction that makes the basis for incorrigible frontality of the work, it is pointless to go round it. Going round this work, you get convinced every time of impossibility for this work to become what it is.

Gerard Desson
Moscow, 26 February 2003


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