What is the particular status of the hand in world making?
To what extent can analytic philosophy and phenomenology of perception clarify the image of the world epitomised through sculpture, its becoming, its recovering?
What does the shift in language from at hand to in hands imply? Does it really mean a shift from possible to powerful?
How can sculpture change the structure of the world? or at least the perception of the world, in view of Nelson Goodman's proposition: In order to construct the world the way we know how, one always begins with worlds already at hand; making means re-making. (Ways of Worldmaking)
I intend to answer these questions by creating studio and public art work that address specific problems of space (fractality, partial dimensions) and their potential for the perception of multiple versions or possible worlds. I also intend to analyse and document the creation processes employed and their success or failure.