emilehermans.com

"In the context of getting to know the physicality of a space, along
with its conceptual frame, a week-long build up resulted in the
delineation of various perspectives on the relation to – and with
the art space. As a consequence, the subjects covered have echoed
the generic emotions such as doubt, happiness, fear, love and hate.
Embedded in the spatial context, the works could not outlive the
duration of the show."

– Press release for the exhibition 'UU&ME'

no. 1 formulates a literal take on perspective: lacking side panels,
a professionally installed modular ceiling hovers between the original
ceiling and the floor, gaining and losing credibility of the new situation
it proposes to the original situation, depending on one’s position relative
to it. Every day a different tile would be lifted from the modular ceiling,
uncovering fragments of what the installation had been hiding.

no. 2 makes use of another artists’ sound piece, more specifically of the
brackets attaching the equipment to the walls. The excess of options
(represented by the holes) reflects a physical deliberation of the instalment
of the work.
Whether the options have actually been considered is irrelevant at the
time the decision is made. The spatial distribution of the holes corresponds
not only to the characteristics of the brackets elucidated on the walls,
but also to the neighbouring holes, much like constellations, or signs,
seen in a night sky.

no. 3 is a play on the perception of certainty, or on the certainty of
perception. On construction sites, newly installed windows are often
marked with crosses made of tape, as to say – undoubtedly: there’s a
window here. This established marking enhances our certainty about the
marked window’s existence, yet simultaneously questions the credibility
of the unmarked ones.