The project was realized in a retail in Dortmund. The image of an avalanche was used to compare my installation and my way of working to the transformation of the surrounding environment. The distortion began at one point and then suddenly changed and rearranged the whole space. In combination with the outer appearance of the building, it all appeared folded and wrapped around itself. Inside the avalanche, I used common materials, like wallpapers, cardboard, carpet and mirrors, to relate to everyday spaces. The basement housed another work. Pictures of the room in its former state were projected on an installation composed of fragmented, origami-like shapes. Visitors could control the projections through sound and, in this way, move the space and alter its scale.
German artist Clemens Behr (Born 20.10.1985 in Koblenz, Germany) uses the simplest materials to create complex ephemeral architectures, which fill gallery spaces with origami-like structures. Working with recycled materials and basic geometric forms, Behr dreams up installations that result in subtle confusions between 2D painting and 3D objects. Not content with the confines of gallery spaces, Behr has taken his work into the public sphere, building peculiar appendages in metro cars and erecting detailed miniature cities on street corners. At their best, his installations are feats of optical trickery, disorienting architectures reminiscent of German expressionist film sets. At their worst, they look like a creative kid ran amok with a bunch of moving boxes and a vat of paint. Behr belongs to a crop of artists, who take inspiration from childlike forms of expression, a naive, innocent aesthetic befitting a generation of Peter Pans.