exhibition statement: Perfect Lie





The experiential unity of two independent objects can foster perceptual engagement simply by noticing their poise.


At Factory 49 Paris, a suspended oval, painted the blackest black,[1] complements an opaque white laser-cut circle sited in the front window. The distance between them is relative; not only influenced by the amount of ambient light or darkness but also where the viewer is located. Whether that location is anywhere inside or outside the gallery, the works can appear to overlap, be perceived as a hologram, or even allude to quantum entanglement.

How does it feel to stand within the gallery, and actually ‘be’ in the company of this pair? Being between these absolutes of black and white, dimensions - along with tints and shades of grey - can be sensed. What happens to the experience by observing the works from the sidewalk, in exterior space? A similar phenomenological encounter happens in the game of golf, when the seeming inevitability of a pristine round ball’s placement, next to the hole-as-pure-void, becomes worthy of a moment of reflection.

 “... what do all the objects in the world have in common if not the fact of being - and of being nothing but - the provisional permanence of certain changes.” [2]


Perhaps we change our consciousness – and, by association, re-create the world – by negotiating through a series of consecutive dimensions in this way.



[1] Black 3.0 paint, manufactured by Culture Hustle, absorbs up to 99% of all light

[2] Jacques Roubaud https://www.goodreads.com/author/quotes/160026.Jacques_Roubaud


Utmost appreciation to Jacek Przybyszewski for his ingenuity and for making this project possible. A special thank you to Jan Przybyszewski for his French translation of the text. Gratitude to Cheng Feng Kevin Yu for his gift of an impromptu video. 

Catalogue: edited by Jacek Przybyszewski
Video: filmed by Cheng Feng Kevin Yu

Factory 49 Paris

10 bis rue de Chaligny, 75012 Paris
Pam Aitken, Director

31 December 2020 - 10 January 2021