The exhibition Roundabout Fullness is conceived as a 3-dimensional painting in which green carpets on the floor give the basic structure. Some of the columns in the space are painted in different greens, or covered with mirrors, to involve the space into one installation. In this installation the Borderlings (sculptures) dwell as individuals and as abstractions, in their own vulnerable way they are looking for happiness, a place to be and to feel respected. « Roundaboutfulness» starts from a basic streetview grid. The carpets have multiple identities: pedestal, border, installation, station.
The installation is to be read as a novel, in which different storylines and sculptures cross and intertwine. The main character is Megrant who is on a journey, but fails to leave or to arrive. In this failure he is active and passive at the same time. As Megrant continues this ‘voyage passif’, disconnections occur, similar to « Voyage autour de ma chamber » by Xavier de Maistre and « The enigma of arrival » by V. S. Naipaul. Megrant endures inertly and experiences actively the many different stories that lay hidden under the surface of objects, images and events. Like E. M. Foster in « A passage to India » he explores the thin line between truth and nonsense.
The installation embodies the Borderlings whereabouts in changing contexts, every sculpture being a different reflection on the paradox of ‘moving’. Each sculpture engages both the wide and narrow spaces between ‘departure’ and ‘arrival’, another thin line between ‘passage’ and ‘stay’. Roundabout Fullness is static and dynamic; it is an inert situation, an unchanging landscape and a journey full of intent, a story in which every sculptural element is a stop, a station, a junction or connection with tales to be told…or not to be told.