Continuouslessness; a life-long project! 
The word exist as a messy double negative resulting in negative concord. Its structure is visually awkward, a linguistically clumsy collection of letters, and the sculpture reflects its title’s literal coalition of chaos.
It’s a physical translation for an awkward yet functioning union of differing parts. No one panel can stand alone, but must rely on its neighbour for structural support. 
This neither guarantees harmony nor precludes individuality as each panel may demonstrate a different idea, material or character as long as it’s able to connect to the previous panel, be that an awkward joining of hands. 
The work remains unfinished. 

Continuouslessness.

Panel 1. ‘For How Much Longer Must We Improvise? II’ 2011. Painted steel industry off-cuts with rebar structure. 225 x 118.5 x 10 cm In rural Poland, as in many countries, gates and fences are often made from industry off-cuts out of necessity rather than choice. Within this limitation, a great amount of creativity is displayed.

‘For How Much Longer Must We Improvise? II’ 2011. Painted steel industry off-cuts with rebar structure. 216 x 113.5 x 1.3 cm In rural Poland, as in many countries, gates and fences are often made from industry off-cuts out of necessity rather than choice. Within this limitation, a great amount of creativity is displayed.

Panel 3. ‘For How Much Longer Must We Improvise? II’ 2011. Painted steel industry off-cuts with rebar structure. 215 x 103.5 x 1.5 cm In rural Poland, as in many countries, gates and fences are often made from industry off-cuts out of necessity rather than choice. Within this limitation, a great amount of creativity is displayed.

Panel 4. ‘1st Neighbour, once removed’, 2017. Steel structure made with painted industry off-cuts. Steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. 220 x 120 x 1.5cm Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset Made to be the first new add-on to initiate the work Continuousslessness, panel 4 is a sympathetic mirroring of the previous three panels but made using Turkish industry metal off-cuts. The curved metal profiles resembling breasts were considered by the metal workers to be imperfect versions, made while creating the pieces for panel 6, and then subsequently incorporated into panel 4. The 5 crescent shapes down the middle are entirely coincidental.

Panel 5. ‘The (Liquid) Host/ess’, 2017. Steel, wine-stained glass blown by İrfan Özedincik, copper beaten by Vezir Erol and Artin Aharon, steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. Initial rendering by Giulia Archimede. 235 x 123 x 30 cm Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset Hi, welcome! What will you have to drink? Tea?-freshly brewed coffee?-water?-sparkling or natural? Hot or cold? Perhaps a spritz/soup on this hot/cold day? Or milk? A nice glass of milk? Or something stronger? A red or white wine, gin, or a vodka/rum/gin perhaps? A juice? Sure, I can make a smoothie if you can wait? Brzzzzzzrzrzrzrzkrzzzzgrzzzzzzzzz. Gruzzzzzurrrrrr, brrrrrzrzrzzzzzzzzz. Huh? What did you say? Water is fine? I’ve only got this carrot to grind up and it’s done. Bgrzrzrzrzrrzrrzrzzzzzzdz… Here you are, so how are you?

Panel 6. ‘A recently separated couple, who still share a sense of outrage’, 2017, Powder-coated steel, plastic, cork paste, leather, cotton string, painted aluminium, plexi-glass panels produced by Suat Ula and Ece Ak, steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. 202 x 75 x 3cm (Spider plant c. 20 x 20 x 20cm) Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset If eyebrows are the punctuation of the face, then what a shame it is that they can only move up and down and not pivot. A turn would give them so much more space for expression.

Panel 7. ‘A recently separated couple, who still share a sense of outrage’, 2017, Powder-coated steel, plastic, cork paste, leather, cotton string, painted aluminium, plexi-glass panels produced by Suat Ula and Ece Ak, steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. 202 x 75 x 202 x 75 x 3cm (Spider plant c. 20 x 20 x 20cm) Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset

Panel 8. ‘The Gender-Bender’, 2017, Powder-coated steel, rust primer paint, fishing net. Steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. 193 x 188.5 x 25 cm Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset

Panel 9. ‘Turnball’s Gate (continuity and change)’, Powder-coated steel, rust-primer paint, straw, wood. Steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. Initial rendering by Giulia Archimede. 241 x 235 x 166 cm Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset ‘The only thing that is constant is change’ Heraclitus The writing team behind the HBO series Veep struggled to come up with the most meaningless campaign slogan they could think of for Julia Louis-Dreyfus’s character, US president Selina Meyer, finally settling on ’Continuity with Change’. In a comic twist of fact meets fiction, Prime Minister Malcolm Turnbull ended up using the phrase ‘Continuity and Change’ ahead of his 2016 election campaign.

Panel 10. ‘The Bride Stripped Bare…’, 2017, Powder-coated steel, painted aluminium, Linden wood carved by Özkan Şener, steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. 185 x 121 x 32 cm Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset

Panel 11. '...by her three ugly sisters' (St Mary Magdalene), 2017 Painted steel, plexiglass, silicon, synthetic hair, plastic 198 x 102 x 4cm St Mary Magdalene was believed to have probably been a prostitute before she met Jesus who cast out her demons and she subsequently became one of his most faithful followers. After his death, it is believed that she became a hermit, growing her hair so long that she could tie a belt around her waist and fully cover herself with it. Donatello’s white poplar Mary Magdalene 1453-1455, now housed in the Museo dell’Opera del Duomo in Florence shows her as a tall but haggard, toothless, rough and repentant figure while Tilman Riemenschneider’s rendition (1490-92) housed in the Bayerisches Nationalmuseum, Munich, sees her with thick sprouting body hair. Created in Florence at the Villa Romana for Fiac art fair 2017, Paris.

Panel 12. '...by her three ugly sisters' (St Agatha), 2017 Painted steel, stained and lacquered Oak, leather, plastic, water 157 x 70 x 24cm St Agatha was from a wealthy family in Catania, Sicily, who was martyred during the persecution of Decius (250–253AD). According to Jacobus de Voragine, the 15 year old Agatha dedicated her virginity to God and rejected the advances of a Roman prefect named Quintainus who then persecuted her for this rejection and her Christian faith, sending her to be raped at a brothel. Once there, she steadfastly refused intercourse at which point Quintianus threw her into prison, torturing her by removing both her breasts and rolling her over hot coals. She was then sentenced to be burnt at the stake, but an earthquake saved her from her fate. St Peter appeared to her in her prison cell and healed her wounds and she died with her virginity in tact in prison in 253AD. Created in Florence at the Villa Romana for Fiac art fair 2017, Paris.

Panel 13. '...by her three ugly sisters' (St Lucia), 2017 Painted steel, marble, cardboard, string, glass, plastic 181 x 47 x 20cm Around 30 years after St Agatha died, St Lucia was born in Syracuse. She was also from a wealthy family, but her father died when she was just 5, leaving her without a guardian and her mother, who suffered from an obscure bleeding disease was afraid for her future and so when she was old enough, promised her in marriage to the son of a wealthy pagan family. St. Lucia had however already consecrated herself to God and made the journey to St. Agatha’s shrine in Catania with her mother in order to seek a cure for her bleeding. While there, St Agatha appeared to her and cured her mother. As thanks, St Lucia begun distributing her dowry to the poor of Sicily, but on hearing this, her betrothed denounced her to the Governor of Syracuse who ordered her make an offering to the emperor’s image. When she refused, he sentenced her to be raped in a brothel. When they came to arrest her, allegedly she could not be moved, even by a pack of oxen. They then tried to burn her on the spot, but the wood would not light. Paschasius then ordered the guards to remove her eyes. Another version has Lucy taking her own eyes out in order to discourage a persistent suitor who admired them. In the end she was killed by the sword. Created in Florence at the Villa Romana for Fiac art fair 2017, Paris.

Installation view, Greek school, Istanbul. Photo credit: IKSV

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali

IKSV 15. Istanbul Bienali