While the building awaits the arrival of builders, its contents are being sifted and sorted. The essential museum items have been put into temporary storage while some things still objects – the bits of old furniture, the piles of folded cloth remnants, the redundant tools and broken utensils – pointing out some for his further attention. The room that is entered from the main door of the building on Copperfield Road was the place where visitors received their welcome and introduction the Museum. Display cases and information boards have been removed and the room temporarily stripped of its frontline duty.
Alexandre has taken the things he had lighted upon into the room and introduced them to each other. For the most part the different elements are made of wood. Stools, broom handles, a barrel and fresh coconuts are among the objects assembled, reconfigured and repurposed to form new entities, titled Limbo (series). Each of these is recognisably itself while being strangely other. The coconuts, brought in to the Museum, heighten the corporal feel of the seven sculptures that inhabit the room. Though their textures evoke narratives of the past, their origin seems uncertain and their future unsettled; their state is that of transition. In an otherwise empty room next door, the curved wooden slats of a broken-up barrel have been placed in a pattern formation and spread across a blanket of differently striped cloth pieces. Lying directly on the floor, the sculpture appropriates the wooden floorboards and become a part of it.