Starting point of Nick Ervinck's sculptures mostly are specific, visible phenomena and forms. Trained as a sculptor, he always tries to take existing elements from physical reality. These are further transformed using digital techniques. This way, new dialogues between old and new, between tradition and innovation and between sculpting and new media arise. This sculpture is situated in the world between the virtual and the real. By copy-pasting, montage and collage, Ervinck designs virtual and abstract forms. This eclectic technique enables him to create what can hardly be thought of, or what cannot be made by hand. GNILICER tells a story of 'becoming', for the sculpture looks like a living, dynamic substance, which keeps on growing and transforming. This outside sculpture is designed fully digital, yet, it is manufactured by hand, using polyester. The structure seems to be the result of a spontaneous, natural erosion process (think on how water hollows out rocks). At the same time, the bright colours and the shiny surface seem to contradict the organic, and gives the sculpture the allure of an artefact. With GNILICER, references to Henry Moore and the modernist sculptors are evident.