EDHOLP looks like a relic, a precious treasure that could be presented in a cabinet of curiosities. This is even highlighted by placing a lamp inside it, like the artifact is insensitive for something so undoubtful and evident like day and night, light and dark. The visual connnection with a skull remains but the lower part seems to be ‘deformed’.  We don’t recognize it as something human.  Is it a remnant of the past, an alien skull, a result of an experiment or a mutant? The image becomes ingraspable, hovering in a virtual, potential or science-fictional world.
As an artist, Ervinck is interested in what lays beneath the skin. In the past he collaborated with scientists and doctors to explore the network of muscles and tendons. The collaboration resulted in the making of AGRIEBORZ, a perfectly symmetrical cyborg figure. For EDHOLP Ervinck studied the old anatomy books and the consistency of bones, much like Henry Moore examined the chicken bones he found in his garden.
The sculpture questions what we experience as authentic and legitimate. This is something Nick Ervinck tries to evoke with all his artworks. He tries to wake up a part of us that would really like to see all the vital images from our tradition ordered, compartmentalized and so culturally tamed. He likes to present other possible worlds which we simply label hybrid, demonic or grotesque. We, in the 21th century, are living at a time of transition, we are looking to establish a new context of ourselves somewhere between a thorough biological knowledge and the virtual world of the future that avails itself of all the latest technological gizmos. The borders between the virtual and the real are narrowing. Ervinck is fascinated by the endless possibilities of 3D printing and genetic mutation. We are already capable of creating replicas of human bones on the basis of 3D-models from CAT-scans. Bioprinting, a new technology used to print organs, will be further developed and commercialized. EDHOLP, also a 3D print, confronts us with these new realities.