A set of big, monumental plaster structures (named Big Boy A, Big Boy B and Big Boy C). They stand 5 to 6 meters tall, dwarfing every and all other sculptures in the room. They determine the space and, like a facade, they have a clear front- and backside. The front shows a drawing of charcoal lines and wrinkles of the wet paper they were cast from. The drawings are a result of a transfer technique where wet plaster is thrown on charcoal drawings. The paper is removed after the plaster has hardened, soaking up the drawing in its pores. A sort of transfer of the paper’s skin. Standing in the midst of three tall structures there is an arrangement of plaster sculptures (Great Hands I - IX). Some are fine, but imperfect, copies of previously made sculptures, others had more of a haphazard way of coming to form. What they share is a sense of formulated doubt and the fact that everything shown is in a second state of being, a copy. In the corner stands a record player playing a sweet melancholic song. The song is an 8 minute rendition of “Sleep Walk” by Santo and Johnny. The record is a fine, playable, copy made of plaster. While it plays the soundtrack for the exhibition over and over, the needle will slowly carve it’s way through the plaster and through the music.