“Spirits on the Ground” is a site-specific dump, a living cemetery of mechanical toys, garbage bags, led lights, videos, batteries, nylons, dead plants, water, soil, and rust.
Petrol, the formative material of all the toys, of the nylon covering the ground and the objects on it, and of the garbage bags, basically originates from the fossilization of dead organisms. Similarly, the production of batteries involves essential elements of life such as carbon, zinc and potassium.
Focusing on the geochemical origins of objects, “Spirits on the Ground” summons the remnants of life in the material composition of toys that move around aimlessly; it pursues the topics of life and consciousness over different accumulations found in nature, rather than in distinctive subjects (humans, advanced artificial intelligence robots, etc.).
Mechanical toys that are torn apart, with rusty batteries or scraped sides , cell-garbage bags that collect them, plastic that forms both the environment and the object, water-activated toy dinosaur eggs, videos of koi fish swimming on a nylon lake, plastic fruits that have released their paint in the water, an ecosystem that has failed or that has never existed.
The islet-like agglomerates, and the different stages of production resemble an under-the-counter workshop, a shooting studio, a dysfunctional greenhouse or warehouse; images and the machines that produce them; hybrid atmospheres with no foreground or background.
These atmospheres are made up of not only gases, but of everything that contains them. Plastic is pressed into toys, stretched into nylon curtains; its scent lingers in the air, filling the lungs of those who enter it. The event is pressed into an object, which is stretched into an event: an event that could not attain its form, and had no intention to anyway.