AYAMONSK is derived from vegetable structures and coated with a glossy varnish which in turn refers to the virtual genesis of this form. This sculpture seems rooted in the ground, and therefore focuses attention on what is invisible, but lurks beneath the surface. At the same time its 'branches' lead the eye of the beholder upwards with a dynamic force. This complex form has an organic look but cannot be pinned down to this. Balancing between abstraction and figuration and between the physical and the digital, this sculpture is at the same time fascinating and terrifying. AYAMONSK is monstrous, for instance in its diluting of different media. It is exactly this crossover and the doubt that comes with it to which Nick Ervinck constantly returns when he is looking for the subtle border between abstraction and figuration, the suggestion rather than the definition. Ervinck is fascinated by the possibility that, in the future, children might create their pets out of a mix of artificial, biological and robotic elements. The desire to create non-existing animals is clearly related to the 'God games' he liked to play as a child. These games reveal a basic human need to keep control over our surroundings and the need to reconstruct the past. There is this age old strange mixture of wanting to keep life under control, combined with this headstrong need for fantasy. Creating monsters thus is our human condition. You can see this in cave drawings and fairytales, image puzzles and 3D games. Ervinck likes to connect this to his love for science fiction and games as well. So the idea of the monsters goes from mythological animals to Xmen, Batman, Superman, Stargate, Aliens, cyborgs, robots, the Hulk, Frankenstein,