After the world witnessed the attacks of 9/11, Nick Ervinck started to scan all the photonegatives he once had made. This intensive task led to an archive of more than 5000 images, which contained the folder ‘GNIURKS’. In GNIURKS, Ervinck deposits the building blocks of his artistic practice: manmade objects, self-made objects, fragments and personal recollections. This autobiographical archive is structured as an alphabet: the T stands for ‘tentoonstellingen’ (Dutch for exhibitions), the V for virtual images, etc. Furthermore, each character has its own subdivisions. The title of each of his artworks is derived from the position in this digital archive. Though the organizing and structuring of the world is of crucial importance for Nick Ervinck, he employs no logic or rational classification system. He rather makes an intuitive inventory of everything the world has to offer, both material and immaterial things. Part of the inexhaustible folder GNIURKS is GNIURKS_M, a sculpture which reflects this drive to collect, assemble and archive the world. This eclectic working method is of crucial importance to the oeuvre of Nick Ervinck. GNIURKS_M furthermore cannot be pinned down to one domain: it is neither purely architecture, nor merely sculpture or a digital object.