Sabin Garea

In a slow, ongoing, process I file, by hand, an abstract sculpture, transforming it into powder. Through the disparition of this abstract sculpture I am generating a set of tools and devices that slowly replace the disappearing object.

Part of a longer project, Latent Noise, is a first reflection on the anatomy of simple musical instruments. Vibration and resonance, the core phenomena behind sound making in a musical instrument, become possibilities here since none of these object are finished instruments.

The work plays with a photographic family archive, using an unconventional book format. The images are blended together in long strips quoting the cinematographic flow of stills behind the projector lens. The pages are not flipped, but they are scrolled in front of the viewer by the turning of a knob. The image content of the book unwinds creating a better immersive experience for the viewer. The archive is a found one. I work with the image, here, in a clinical manner, basing my choices on elements of content, color or composition. This book is a second step of my broader research around the way image operates when stripped of its emotional background. The function of the family picture to mark a certain memory is broken in the absence of a translation of the depicted event.

The triptych is an observation on the decorative nature of the architectural space of the highway in Holland. I employ here a decorative technique specific for furniture making in the past centuries, to bring the work in the realm of decorative crafts. I counterbalance the abstract nature of the satellite image depicted in the triptych with the experience of cruising through these spaces. A video screen carries the viewer, on ground level, through various view points positioned inside this highway knots.

When making a water fountain entirely carved out of salt, the purpose of the object became completely absurd.