130301
140204
380 x 120 cm installation, variable dimensions, 100 pieces of bread
2013/14

Each of these sculptures arises from an experiment, the result of the leavening of a chemical reaction between the various ingredients, independent from my act. The result has been ranked in a consecutive order including year, month and quantity of bread created in that month. In the title are the two extremes, the first sculpture and the one that, at the moment, is the last.
In an exercise similar to that of a geologist, who organizes based on form, the sculptures are divided into three categories. The “plain” bread is the result of a more substantial mass and density, almost without leavening. In the breads with the crust “cracked” the leavening process has been activated several times, often interrupted to allow a later editing. The “shells” are the result of a leavening process with a quantity of sourdough higher than normal.


Basically the idea was to replicate the photographic process into the sculptural one: as much the photographic camera as the bread machine, they are physical locations where a reaction takes place which is opposed to the control. As in photography the eye performs a selection, so I choose the ingredients and the type of dough. The impression, development and fixation become the leavening and the freezing of the form. In both cases, it is crucial mediation between their will and the unpredictability of the device.


Interference is implemented in this way: emptied of its meaning the machine becomes useless, what comes out is not an edible product, but an experiment. If freedom means playing against the machine, perhaps, in a world that is mechanically distorted the function is the only freedom we have left.


Vilém Flusser, Towards a Philosophy of Photography

130301
140204
Instalacija 380 x 120 cm, razlicne dimenzije, 100 kosov kruha
2013/14

Vsaka od teh skulptur izhaja iz poskusa, ki je posledica vzhajanja kemicne reakcije med razlicnimi sestavinami, neodvisno od mojega dejanja. Rezultat je bil razvršcen po zaporednem vrstnem redu, vklju?no z letom, mesecem in kolicino kruha, ustvarjenim v tem mesecu. V naslovu sta dve skrajnosti, prva in zadnje realizirana skulptura.

Vaja, podobna kot pri geologu, ki organizira kipe na podlagi forme, razdeljene v tri kategorije. "Preprosti" kruh je rezultat vecje mase in gostote testa, skoraj brez kvašenja. Kruh z »razpokano« skorjo je nastal z postopkom pogostega prekinjenja in veckrat aktiviranega vzhajanja."Školjke" so rezultat postopka kvašenja s kislim testom, ki je ve?ja od obi?ajne.

Idejno gre za posnemanje kemicnega fotografskega postopka v kiparski: fotografska kamera - povecevalnik, tako kot stroj za izdelavo kruha, so fizi?ne lokacije - aparatus, kjer poteka reakcija, ki je le delno nadzorovana. Tako kot pri realizaciji fotografske podobe oko izvaja izbor kadra, enako so izbrane sestavine in vrsta testa. Vtis podobe na fotografski papir, razvijanje in fiksiranje slike postanejo vzhajanje in zamrznitev forme. V obeh primerih je kljucnega pomena mediacija med lastno voljo in nepredvidljivostjo kemicnega procesa.

Interferenca se izvaja na nacin, da: spraznjen pomen naprave, postane neuporaben; rezultat je neužitni izdelek - eksperiment. ce svoboda pomeni delovati proti stroju, je v mehanicno izkrivljenem svetu, edina svoboda, ki nam je ostala.

Vilém Flusser, K filozofiji fotografije