Since the late nineteen-eighties, Mark Manders has been developing a consistent oeuvre in which each work is a fragment of what he describes as a ‘self-portrait as a building’. Manders’ sculptural installations form ‘memory spaces’ in which the thoughts and feelings of a fictive poetic self are materialized. Silent factory chimneys and machines, self made furniture, bronze sculptures of animals and fragmented human figures, drawings and everyday objects come to a standstill in the rooms of an ever expanding self-portrait.