With EMOBCOR and VIGAV, Ervinck’s fascination with the mutation and manipulation of natural elements comes to the fore. The sculptures are composed of various bones. Just like Henry Moore, who found inspiration for his work in natural objects such as chicken bones and shells, Ervinck works with elements from nature. He then has at his disposal a virtual world of almost limitless compositional possibility. For EMOBCOR, he created a body with an unnatural, eerie core: a skeleton composed of alien bones. One can discern a head but this bone also resembles a scorpion with its tail held high. Deformed human eyeballs and hip bones also make an appearance in the sculpture, for which Ervinck relied on anatomical sketches.

Ervinck continually seeks new ways to breathe life into sculpture using the resources of his own era. Where his previous sculptures were mainly yellow in colour and had a fairly uniform visual language, here the artist is more interested in the interaction and dialogue between different visual languages and identities. The interplay between the contrasting elements is also emphasised by the three colours.

In EMOBCOR, we can see a Grand Canyon-like rock formation with a bone emerging from it, as though a fossil. It appears to be a strange sort of chicken sitting in its nest surrounded by ivy with tentacles growing out of it. These tentacles are an expression of Ervinck’s fascination with viruses and other small organisms. The detailed foliage refers to kitsch mantelpiece ornaments and the porcelain designs of 18th century Meissen vases.