THICK MILK, 2011

In Hollywood directors, producers and stars literally struggle for the right to make the ‘final cut’ – to approve the canonic version of a film which eventually meets the audience. According to the Multiple Cuts Model nobody has the authority of the final cut, films are produced, edited, cut, re-cut, re-edited, presented, put aside for non-fix terms, mangled, glued together, screened forwards and backwards - and none of the subsets of these processes counts as private presentation, compared to which any later alternation would equal to unauthorized modification. In the corridors and cutting-rooms in different times and places there exist different variations and none of them is a final work.
(Daniel C. Dennet: Time and the Observer)

The Thick Milk-project started as a formation of a game mentioned in the titled, the original Romanian title (Lapte Gros) translated into English, although effectually they play it under the name of 'Johnny on the pony' in the anglo-saxon world. The aspect of 'getting an idea done' and the rest is just about material realization has always annoyed me, therefore I find the ways to distract the original thought in every possible ways. Even the characters that I use - the pieces of figural sculpture - are the recycled versions of the ones from earlier shows, so the stages of the so-called development of the figure's career, body can be traced if you follow well their history. This is the method how I try to play out the fundamental stationarity of sculpture as a medium and give the figures life stages like in a 3D cartoon. The installation process is also variable, with the Tick Milk there existed many versions which supply the group with new and new layers of narrative.