Superposition of the Finite

The image series Superposition of the Finite presents dense accumulations of wasps and other insects. Their individual states—dead, alive, or in transition—are hardly distinguishable. The bodies overlap into an abstract pictorial space in which death is present without becoming clearly identifiable.
This ambiguity is central: Finitude does not appear as a singular event, but as a latent condition of the living—as an abstract certainty, as the surreal within life itself. Life and death do not emerge as opposites, but as interpenetrating states with unstable boundaries.
The materiality intensifies this tension. Cracks, air bubbles and overlapping edges destabilize the boundary between image and reality. Visible traces of the production process point to fragility, temporality and processuality. The image does not conceal its construction, but makes it part of its meaning: as something unfinished, exposed to decay.
The transparent film on the mirror allows the viewers’ reflection to enter the pictorial space. Subject and object overlap; the image looks back. Viewers cannot position themselves outside but are confronted with their own finitude as an unavoidable condition of being.
The images refuse formal smoothness and aesthetic pleasure; instead, they generate irritation, overload and productive unrest. Sharpness, color and legibility shift with distance, angle of view and light—clarity does not emerge.
In existential-philosophical reference to Albert Camus, a situation of the absurd arises: the desire for meaning encounters a reality that resists any final interpretation. Life and death, visibility and withdrawal, subject and object remain present in open superposition. The conscious endurance of this tension becomes the central moment of the work.