What would the future archeologist think of the naturalia and artificialia he would have discovered in some terrestrial –or perhaps extraterrestrial– excavation? With his white clay ceramic sculptures, Aris Katsilakis creates hybrid objects that appear to have been found somewhere in the future. His biomorphic sculptural compositions sprawl in space like exotic machines. The artistic outcome of Katsilakis's imaginary approach of time and space is these sculptural time capsules. The time capsules function as "micro labs" for the preservation and dissemination of information to future generations. In this way, Katsilakis' sculptures record cultural and natural history as an imprint, as well as a spoil.
The material of those sculptural forms itself –unprocessed white clay– is used as an unaltered, pure and primeval matter. Although they resemble alien technology artifacts, these ceramic time-capsules serve primarily as fossils of the human presence through time; not as functional machines. Their abhorrent insides appear to the viewer as a memory (or rather as a reminder) of some hypothetical dystopian future.
Heterogeneous objects, detached from their natural environment (cocoons, vital organs, and organisms), are entwined with modern industrial waste to create the ceramic relics of the sculptural installation. Biological and mechanical apparatuses with retrofuturist references, iron weapons and teratogeneses combine to create the atrocious character of an otherworldly find from an undesirable (perhaps) future.
MOMus-Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections