ETEBNOZAY combines the virtual reality (blob) with the architectural structure (box). This structure reminds us of large architectural buildings, such as transit places (airport terminal, train station,…) or religious monumental temples (think of the Maya and the Inca). Moreover, an alert observer can recognize an 'all-encompassing eye' in the upper watch tower. In the front part of the sculpture, one can see an energetic, coralline, yellow shape, which wriggles its way through the massive box. As Ervinck associates this shape with the ocean, the whole structure is a reference to a drilling platform. However one can recognize different elements and make various associations, the sculpture as a whole stays unknown. Nick Ervinck plays with the expectation of the viewer and fragments these recognizable architectural elements into uncanny compositions, which can only exist in a parallel universe. An important element in the oeuvre of Nick Ervinck is the interaction between the natural and the artificial. The rational architectural language is replaced in order to give rein to the fantasy of the artist and the observer. Balancing between the real, the possible and the potential, Nick Ervinck guides the observer into a world in-between, into a cosmos of yet and not-yet. ETEBNOZAY is a futuristic ark of Noah, in which not yet existing architectural forms and objects are stationed for the future.