Foundry investigates the categories of physical and material in relation to what we call incorporeal or subtle. Steel is cut, bent and welded to become a sculptural piece, an aesthetic image. The video records of this process are digitally manipulated for the same purpose. Both abstractions, each on a pole of the spectrum: the solidity of steel and the fluidity of video share the same origins, but will they be part of the same body?

The answer seems to lie in the process that leads to abstraction in each case. While design and precision are required for the ensemble of the steel piece, when working with video images error, accident and noise are essential to

transcend figuration. Chance and glitch becomefundamental devices in the fluid exploration of images, seeking the sculptural nature of the digital process. 

This establishes a vivid and direct link between the physical process that establishes the sculptural piece and the editing and manipulation procedures that shape the video. It results in two works that are verse and reverse from each other: on the one hand the materiality of steel, on the other the uncontrollable fluidity of digital, both aesthetic images, having in the video a disturbing response to the belief in the apparent solidity of things and the world, to our own convictions.