The second piece in the series represented a continuation of the experimental process. This is where my focus on video or video performance is most noticeable. The object became totally irrelevant, for it was merely a document of the activities.

​All semi-products, which are a part of the set design, played a part in the experimental activities. The video performance addressed the production of new accessories or new exoskeletons. The Wear series continued by stepping a step backwards from the first piece. In this piece I addressed the first reproduction cog in the co-dependent system of cogs. Generally, I tried to address the broader rigid work system, the parts of which are confirmed in their absurdity: the work is performed for the sake of work itself.

​Wear II exposes banal objects, which could be a subject of admiration. As set design elements they were placed into the second plan. The focus remained on movement, i.e. on me as an artist in the work process.

​For the soundscape I used the music from Quentin Tarantino’s film Kill Bill. Amongst others the film addresses the persistent and perfectionist eastern work ethics, which can be found in the work of craftsmen. The slow rhythm emanates a feeling of infinity, which is admired from afar by the west, even though we avoid it as it does not provide instantaneous feelings of pleasure or gratification.