After doing this project, it became more clear to me that what I would like to refer to as the language or grammar of sculpture starts somewhere in everyday life, on the streets, rather than in the studio.

By making direct copies or reproductions of these findings in the studio a different meaning is added to the viewer, which is different from the one that I have when encountering them on the streets. In order to keep the essence of the encounter they need to be abstracted, distilled somehow.

For they to create a meaningful relation to the viewer, they need to be the result of their own environment, of the sum of all the collective forces acting at a particular space and time. They need to find a balance between intentional and unintentional gestures. They need to be the result of a situation that also includes the viewer.

In other words, that what is relevant is not the production of objects, but of meaningful moments.

Then the important aspect becomes, how to bring the viewer into contact with them?