It’s difficult to control my compulsion to avoid everything redundant. It reserves the text between the lines—fills up the space. The compression doesn’t make the text accessible, but this way it finds a counterpart in my art. There I am dealing with mass as well. 
The spit is digital and the unfired clay a granular image. The object is out of reach. The input is not the object in itself but what adheres to it. Spittoon could all the same be symbolic for either birth or an evil spirit, as well as a realistic image akin to Duchamp’s urinal. The realism is contained within picking up an object and placing it in a different place. A ready-made is created by putting a commonplace object in the context of art. Gripped by nostalgia, I move the spittoon from the past to the present. This ready-made however, is more subjective than Duchamp’s since I throw an object and spit on it instead of moving a spittoon between museums, from a history museum to an art museum. The subject matter of this work is vague.