PTP — EN

PTP framework: Pressure, Temperature, Pain Within the senses of the skin, three separate systems are distinguished—pressure, temperature and pain—each leading to different phenomenological experiences. Around the skin paintings, other derivatives and series have emerged that find their place and meaning within the PTP construction. PTP thus functions as an interpretive grid that links the skin surface to sense, emotion and context. As physical skin reality, Pressure refers to pressure on or against the surface, to tension and compression; Temperature to warmth and cold as sensation and atmosphere; Pain to pain as a signal of body and boundary. At the same time, PTP offers a psychological and socio-political translation: Pressure becomes stress, coercion, ideology and social pressure; Temperature becomes mood, affect and atmosphere; Pain becomes trauma, loss and historical burden. The PTP structure (Pressure, Temperature, Pain) is the framework that makes the different series in the work cohere logically. In a 3×3 grid, the rows are: **Pressure / pressure** brings together works about ideology and power: altered flags and symbols, and text (animus and rewritten public texts) as carriers of collective conditioning. **Temperature / temperature** focuses on body and matter: skin paintings, organ- and tissue paintings (inner), and noise paintings in which paint appears as energy/mass. **Pain / pain** addresses trauma and confrontation with the raw: readymades, outside photographs, and conceptual works. Together these three axes form one coherent field in which the sensory (skin), the social (pressure), and the existential (pain) continuously influence one another. In a 3×3 grid, the columns are: **Unborn / unborn** The pre-image: the unground, the field of noise/potential from which all kinds of patterns can still emerge—before recognition, before narrative, before ideology. In your terms: “the ever-present origin… the noise (unground), from which all possible patterns can form.” **Real / real** The manifested: what becomes object/image/sign through perception and language (i.e., the world as we accept it as “real”). This connects to your “knowing membrane” and the idea that objects exist through sensory confirmation. **Entropy / entropy (dissolution)** Falling apart/returning: form dissolving back into noise, meaning degrading, matter “working” (leaking, tearing, shifting), and the moment as both destruction and freedom. You describe this explicitly as from formation to life-unbound, and as processes in which layers/words/sound ultimately dissolve into a ground tone/noise. Within the 3×3 grid, the composition of different works into one whole is the way PTP functions as a total image: the separate series activate one another’s meanings. A work gains its charge in relation to other works—within and between series—and in installations everything operates as a total image in which paintings, objects, and sometimes sound/text interlock as a network. PTP thus emerges not as a sum of separate categories, but as one autonomous field in which pressure, body, and pain continually shift between unground (Unborn), manifestation (Real), and dissolution (Entropy)—and in which the “ground tone” of the whole repeatedly binds the parts together. **A. Composition (multiple autonomous works as an installation)** Autonomous works from different series are brought together spatially. **B. Literally composed work (one new object/painting)** Elements from different series are physically integrated into one new work. **C. Series work with an external addition** A work from one series receives an intervention/addition from the outside. **D. Baroque-allegorical tableau series (PTP as total image)** PTP is condensed into one hermetic tableau. E. Video F. Sound