In Temporary Concentration of Matter one can find a non-normative perspective that allows one to look at strongly rooted cultural categories as research material. This gives us a chance to emancipate ourselves from helplessness, ignorance, indifference to the signals of ecological failure. “Queer archive of collected things” is an open collection of objects thrown by the sea and people, which, being in constant motion – lifted from the ground – find their place in the creative process of the artist. The ritual of accepting and making room for what is rejected, displaced, deemed unnecessary, or other, is a way out of the impasse of recycling, out of everyday life. In this way, queered ecological scripts open up modern human logic to the possibility of giving oneself (once again, or perhaps for the first time) to objects that are so organic.
Such dismantling of thinking provokes paradoxical conclusions: perhaps, we even our debt to nature if we activate in ourselves the ability to queer relationships, actions, space, or objects and practices related to them. Perhaps, we even our debt if we feel that the waste category can give life to a recovery category, especially since our relationships with objects are actually so close, intimate and mutual that they allow us to be human. Perhaps – because it is so, after all, that it is things that entangle people in violent relations with nature and other people. Consumerist violence is virtually invisible.
The artist’s personal narrative about objects is infinite and not ending, just like the infinite production of objects. A cycle of biographies of objects is created from the belief and experience of the reciprocity of objects and people and the potential of objects to be alive by entering into relationships with people.