The artists started off designing distorted pieces of furniture, for example with ‘A thousand years’, before extending their skills to penetrable environments, such as when the artist duo represented Luxembourg at the 2011 Venice Biennale with ‘Cercle Fermé’. The experiences that the artists offer us are never trivial. Even if someone visiting their installations is not alone, the artists succeed brilliantly in making them feel as if they are indeed alone with their experience: each individual inhabits space in a different way because each person makes sense of it in their own particular way.
The main feature of both artists’ current work is also its whiteness. In Herman Melville’s famous Moby Dick story, the author devotes an essay to the sea monster’s absence of colour. In particular, he points out that although whiteness enhances the beauty of many things, when associated with any object of terror it exacerbates that terror. Our experience is amplified by the whiteness here. The absence of colour focuses our attention more sharply on the work’s structure. The viewer is challenged, becoming all the more involved with the experience. This whiteness owes much to the use of a unique material, similar to rubber, a secret known only to the artists, which bestows upon their work even greater individuality.