Jac Leirner collects disposable, everyday items en masse. Stringing, pinning, sometimes gluing volumes of correspondence, bank notes, or cigarette packs, she transforms the debris of human life into curiously elegant sculptural works through the formal language of Minimalism.
In Blue Phase, Leirner has strung together thousands upon thousands of devalued Brazilian cruzeiros, cruzados, and cruzados novos. According to the artist, the work is not about the inflationary economy in Brazil, relations between artworks and the art market, or the circulation of things, but is instead about "a physical presence totally impregnated by them." While their original function has now been altered, these bank notes, once transported in wallets, pockets, and hands, possess a strange intimacy as embodiments of modern human interactions.