When doing corporeal gestures like pressing, treading snow, I am aware how I balance my body, its posture and breathing. Performing these corporeal movements they produce kinesthetic experience. This affects how I display the work. My challenge here is marking those sensations.  

 

The installation is occupied by reproduction. Working with the material I produce of the event, I connect and show the dependency between the place of event and the place of presentation. The event is where the thinking happens. Displaying the strings as a base for photographs carries the idea of movement. Then the installation as a kind of descriptive formulation of the experienced event follows that notion. The strings installed now show the act of pressing, viewing its anatomy.  

 

I call installation as a concept of postponing. By naming postponing or delaying indicates that something is transmitted for later. Hence this not-finished condition implies that there is something to be executed. It has a quality of speculation. Postponing has a course; it is a notion of pushing forward to the contrary for remembering as backward heading.

 

According to Derrida différance is producing differences. It is connected with the idea of delaying, deferring, storing. By offering the other it gives the possibility to spread, to space.

 

I rewrite the letter. I use both Latin and Arabic scripts. I combine each letter with the thin thread line indicating equivalence between these different scripts. But there is no symmetry.

In some parts in Arabic scripts writing Tatar all vowels are not expressed.