WRITING
OPEN BOOK occupies the territory where literature meets visual art. Presented as a physical object whose appearance borrows from the language of museums, galleries and archives, the work deliberately disrupts the conventions of reading.
At its centre lies a paradox: a short story hidden inside a much larger novel. The reader knows the story exists but cannot immediately access it. This simple act of concealment becomes the engine of the work. Frustration and pleasure operate simultaneously as the reader negotiates the gap between what is available and what remains withheld.
The project continues a broader investigation into non-mimetic artistic strategies. Rather than illustrating a narrative, OPEN BOOK manipulates the conditions through which narrative is encountered. The physical object, its presentation, and the rules governing access become as important as the text itself.
The work also questions the status of authorship and narration. Like certain contemporary novels that refuse explanatory guidance, meaning emerges gradually through accumulation rather than instruction. The reader is required to participate actively in constructing the work, assembling fragments into a coherent mental structure. In this respect OPEN BOOK is as much about the mechanics of reading as it is about storytelling.
The result is an artwork that treats literature not simply as content but as material. The book becomes both vehicle and subject, transforming reading into a spatial, conceptual and performative experience.