The series “Stretched Objects” could be a something of a burlesque on the concept of strength. The objects, which simply hang on the wall just like works of art usually do, are in truth not hanging at all, but rather being pulled on in such a way that the forces affecting them “stretch”—change—them. In any culture with a Christian tradition, such stretching tends to evoke associations with the crucifixion or with Medieval torture methods aimed at tearing a body apart. A martyr can be produced only if the object to be stretched is stretchable to a certain point and not beyond, or when the object possesses only little strength of the tensile variety. Most of the objects displayed here do not have much stretching ability. The association with torture even seems a bit comical in this case, since the process produces no such horrific effects. A stone can hardly be stretched as easily as it is here, nor can a porcelain plate, a Thonet chair, a drinking glass or an iron. And we haven’t even mentioned the fact that someone who stretches something in a paper sketch does entirely without the effects of real force. Even so, the association is not unimportant—it may be neutralized, but it does not disappear. It becomes a sort of barrier which prevents the allegorical or ideological interpretation of the objects and, at the same time, lends them a finely ironic note.