Bo Oskamp

The current state of my practice revolves around space, structure, (live) sculpture, drawing and video as means for the body to surpass itself. A means for the body to enter a realm of continuous (circular) movement. Both in process as well as in the exhibited work.

To enter death is an erotic movement. It implies the reconfiguration of matter which lies at the very core of existence. No different than birth, no different than the flowing of the tides, no different than the rising of the sun.

Yet, what are the moral implications of an ignorant stream of continuity in which one thing is already the other before it really becomes it? When do we decide to cage the fluid into the concrete? What do we decide to charge with the implications of a boundary?

It is the act of categorising, the act of defining in which lies the political.

In my graduation work decaying structures made of used building materials are behaving as charged skins inside of the protected KABK garden, around and within which different forces express themselves.

No one-liners, no slick design.