The sound of the scraping sandpaper which the ground-down mirror conveys as a resonating body within the restrained sound installation The imperceptible self is analogue to the gnawing tooth of time, which no one in this world can escape. The recording of the sounds made at the time of the act of sanding summons up the notion of an inscription into a layer (whose result we see) - even if this can only be achieved in perception, which in turn lies in the ear of the viewer.
Thus the world behind the mirror evoked by the artist tells the viewer that the past is necessarily relativized in the act of remembering, that the perspective onto the past becomes increasingly diffuse and disparate the more layers accumulate in the memory. The self is not outlined any longer in relation to a clear object of reflection, but instead to a volatile shape that raises questions about the viewer’s own self-perception.
