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 movable – everything is in disorder corresponding to common sense. The world in which the artist operates is a digitally fictionalized one, constructed and deconstructed by an omniscient creator and without any limitations. YENOH 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. YENOH is an homage to Franz West, an Austrian artist who has made artworks out of plaster, papier-mâché, wire, polyester, aluminium and ordinary materials. Here, Nick Ervinck made a ‘shape of protection’, referring to the egg (see also: FROKE-JEB_II).