They are objects – symbols, which are rather easily recognisable, and most of which are mythical. It is a strange creation where all the objects are almost realistically created despite our being interested not just in their appearance, but principally in their “concept”, in that which they stand for and which they safeguard.  I am preoccupied in how to preserve the concepts that are encased in their form, over the course of time and how these ideas may be protected from limbo: it is an experiment of memory and preserving of values. Everything is of the same material and gives out the same sensation; it is as though everything has been cut off a uniform mass and could – if melted – come together again, as one.
         Their “idea” is so well enclosed within them that it is essentially impenetrable, bulletproof, and no matter what happens, a small piece of them will remain whole to remind what that concept was; a small piece, which does not let them rest in the complacency of their “being”. It shall forever remind them what they are and what their work is.
 This is one of the main subjects I am discussing in this installation: what exists within every human being, a very small piece – very well hidden within them – which they are called upon to discover in the course of their life, and acknowledge as their own, and safeguard in any way.
This is precisely how I would like these works to influence space: exercising their own power, charm and curiosity on the viewer, exactly as it happens with events in reality.
Under no condition is it a real place, but rather a conditional space, where everything is plastic, white and their endurance to time is unbeknownst to us.  What is certain and intentional is that their inside shall be preserved because it is near mummified, and that is an element I seek, as I believe that the core of circumstances and people does not change; it is simply covered in sometimes obvious, other times deceitful, ways, and observing that where one does not perceive “substance”, is precisely where substance might exist, merely not for them. My aim is that this substance remain intact – or our idea of it, and its essence as it is very well protected, wrapped in a material protective by nature, in which we always wrap the most fragile things we wish to carry and preserve.
                There is no sound in the installation; there is silence. There is silence in the colour white. White is symbolic of a world, from which all colour has been vanquished as material attributes and substances, of a world so far from our own that we cannot hear any of its sounds. Moreover, white functions as the white cinema sheet, on which every viewer may project their own “movie”. They may view it as romantic or frightening, as a pink fairy tale, or a colourful and happy one. My intention is to adopt no stance and refrain from “colouring” the installation, rather let it act differently on every spectator, in considering that the colour white better approaches this intention.                                      

Marianna Katsoulidi
Athens, June 2008