Flying Carpets

Flying Carpet of the Determination of Space and Time on Board

What to do, to understand the world ? 

Andreas Slominski doubts the names of things. The starting point of his work is an encyclopaedic, bank-bursting collecting of things. The first surprise is that despite the obvious clarity of the order relating to the work (lists, family description, cataloguing) no overlapping linear family tree can be discerned. Pictures and words point the way to other pictures and words. In the face of the surrounding information explosion the artist, as a rearranger of realities, is mainly concerned with the selection and enclosure of fields.

At the beginning of perception there is always the trap. Whether placed metaphorically or in reality the boundaries between traps in the wider sense (all Andreas Slominski's works are perception traps) and traps in the narrower sense (the various traps for animals) are in a state of permanent flux. The perturbation of the observer causes moments of dynamic standstill, or standstill which is capable of being dynamised, to appear in place of the omnipresent inertia.

The carpet constitutes a still empty stage for possible movements and meetings and passes the allocation of meanings in the print medium Skylines over to the passenger. The carpet has also left the ground. The changing altitude means that the normally taken for granted process of placing a glass on a small folding table requires a conscious effort to determine where to put it. Beyond habit, in the company of an everyday object, in a not unaccustomed but nevertheless "heightened" situation, Andreas Slominski uses empty spaces, imprints and marks for reveal to us the vulnerability and absence of the solid body in the game of ever-changing measure.