Freight introduces a fully realized, immersive world. Its distended creations groan under the burden of counterpoised impressions, simultaneously autonomous while forming a heaving mass of sensory information. Produced between 2013 and 2014, forty-five shipping-crane inspired sculptures assert their dominance over the installation’s three hundred and thirty two bespoke containers, sitting beside or atop numerous marble-coloured pillars.
These analogue works, though grounded in the technology of Belgium’s harbour ports (particularly straddle carriers, or Olifantje), become more abstract entities. The end result is an uncanny landscape; a fucked up container terminal in space. Navigating through this apparently static world, the viewer confronts an oscillation of qualities: functionality fusing with ostentation, suggesting a precarious balance; the benign activity of machines flickering with latent alien danger. Freight’s power lies in this embodied spirit of indeterminacy.
Drafts, short cuts and flashbacks helped to tame this animal. Having an overview remains important. Each sculpture is considered autonomous. It can stand out by itself as well as in group. Freight is like walking on a tightrope: it is about creating the right tension between volumes, machines, containers and pedestals in order to achieve great balance. These sculptures balance on ‘the border’ by their shape and narrative character.