In his early works, Nick Ervinck questions the use and the perception of constructive elements such as material, proportions, space, colour and volume. He endeavours to trigger interaction between virtual constructions and hand-made sculptures. Polymorphic, synthetic forms are found in the 'seemingly' authentic rooms, racks and platforms and are brought to life as mutated molecules by means of an artistic computer simulation. In Ervinck's conception wood is flexible, objects appear from the ground up, rooms are multi-directional and movable: everything is in disorder. The world in which the artist operates is a digitally fictionalized one, constructed and deconstructed by an omniscient creator and without any limitations. GNIKOLBSER tells of a mental shift, in which Ervinck raised once fragmentary pieces of a sculpture to a pedestal, appointing them as finished works of art. In his student years, Ervinck sought for beauty and soul in the minimal, the worn out and in untreated, raw materials. GNIKOLBSER is an homage to Franz West, an Austrian artist who has made artworks out of plaster, papier-mâché, wire, polyester, aluminium and ordinary materials. With GNIKOLBSER, Ervinck 'acts without history' (see: Frank vande Veire, De geplooide voorstelling): sculpting is not about the prepared or the made-up, but about the acting-thinking without preconceived goals, without justification or statement. Ervinck's research on the characteristics of the sculpture thus result in pure poetry.