Paul Ferens' work can be understood as a Megamix of left overs that he has carefully scrubbed together. Appropriating what it is left, not chosen, eliminated, free, or can be stolen, he creates a new patchwork folding paintings and sculptures together, seemingly in-between La Pieta, Tutankhamun and the Ninja Turtles. A crossover between time and space that goes beyond Don Xuan Center and the Vatican together in the same room.

In his last show at the New Day Gallery he immersed himself in Planeta Cumbia. He intuitively constructed a fake world quite similar to a Quilmes Pilsen bar, even though he has never been to Argentina. That show, similar to this one, awakens a kind of 00 teen-spirit without sentimentality. Probably an echo of his day job at Paul's boutique, a roughly organized second hand shop.

A lot less pure than, but with the magnificence of the Renaissance, his works are an overlaying of meanings where nothing is imposed. Through contradictory associations he creates a tension between language and the construction of meaning, where there is no true sense, but the senselessness of the disposable, the unnameable, or what is sidelined. It seems everything is possible.

text Manuela Morales