The materials themselves are usually recognizable upon closer inspection; sometimes you can’t even distinguish them from each other. Frequently I use a wooden framework or a core made of Styrofoam, and then layer other materials on top, like a kind of skin. I take this to an extreme, slightly perverted point, where you can see what materials could do, although most often are not allowed to do. Melted, burned, thickly applied, covered over, poured, spackled, polished, shaved, or sprayed—I’m looking for a new, surprising quality that looks at first as if it’s generated itself. Often, I’ll simulate aggregates, bumps, deformations, distensions, bends, and bulges. It looks as if the object has been caught in processing, or put under pressure. These fake trails make the material seem even more mysterious. Coding over ordinary characteristics causes uncertainty: it’s a game in which you cannot trust your own eyes.