Paintings and sculptural objects are presented as self-conscious class signifiers, referring as much to the systems that create them as to their qualities as art objects. Desire is presented as a necessity to human survival transcending issues of economy and class. The carnal is the divine brought down, momentarily, to our earth and our bodies. As we become addicted, we repeat the most satisfying fragments and methods trying to bond our self more permanently to the other. Consumption is implicitly insatiable.
Production lies upon the impossibility to fulfil desires and appetites.
The works respond to the idea that the erotic is an escape from the real world. Desire can also be seen as utilitarian or political. The satisfaction of desire does not represent escape or freedom from limitations, but represents limitation itself because we cannot escape desire. The mistaken idea that it does represent freedom leads to a vulnerability to images of desire which are used to direct our actions, as in the case of advertisements, which exploit images of desire. The work refers to a fear of interaction contrasting with a fear of isolation, the two of which together drive us to exist.