In 1989 I developed a group of works that explored the spatial organization of natural objects.

Among them were four installations: a grid made with chestnuts (untitled 89-1), a tree-root installation (untitled 89-2), a circular form made with red brick powder (untitled 89-3), and a blue circular painting (untitled 89-4).

 

These works were not conceived as representations of nature but as provisional structures assembled from materials temporarily borrowed from it.

In untitled 89-1, chestnuts were arranged on the floor of a white cube using thin white threads stretched horizontally and vertically, resembling the ruled structure of manuscript paper. The intervals were intentionally irregular. The work explored the tension between order and contingency, between a grid imposed by thought and the unpredictable presence of natural forms.

 

In untitled 89-2, a tree root was installed upright in the center of the space, surrounded by branches arranged radially. The objects were positioned according to directional orientations, forming a provisional spatial order rather than a symbolic system.

These works were conceived as temporary constructions. After the exhibition the materials were dismantled and returned to their original environments. The installations therefore existed only within a limited moment, while their elements continued their own processes of disappearance in nature.

 

This approach later became the basis of what I call repositioning: not the preservation of an object but the reactivation of a structural relation.

Following an earlier repositioning in 2010, the National Museum of Modern and Contemporary Art (MMCA) invited me to reconstruct untitled 89-2 again in 2020.

While installing the work on July 30, 2020, I sensed that the original tension of the structure was not fully resolved. After leaving the museum I felt as if the work were pulling me back by the collar. On August 3 I returned to the space and adjusted the installation once more.

The experience was physically exhausting, yet it confirmed something important: even after thirty years, the work still demanded the same precision of attention. The method of repositioning — in which a work appears only temporarily before returning to the processes of disappearance — revealed its non-linear existence once again.