The idea that the concepts of art and mortality belong together is repeatedly called into question. Perhaps correctly, because only art is able to show a thing of beauty and is a thing of beauty not timeless? Art still has to obey the condition that it is created for eternity. It is quite the opposite for the art of paper folding: origami. Clearly considered and matured, the art of origami demonstrates the beautify of the transient: “see to learn”. The exhibition “Here and Now There and Then – Mediations on Creases” by Sipho Mabona also reflects this. This is not about postulating a thought through the evidence of art. The artist’s exhibition should instead be a space to think or a place of meditation. A place, in which reflexive observations can develop from contemplative occupation with his art, his identity as an artist into completely universal questions, and our own relationship with mortality and the longing to escape this mortality. This type of reflection also means knowing your own actions, taking them a step further and leaving them behind you. Ultimately, there is a story inherent in all things – all that remains are the traces, which refer to past realities like gestures. These traces are recorded and translated into the space in “Here and Now There and Then – Meditations on Creases”. The entire floor of the exhibition is designed with cast gypsum boards. The raised structure of previous paper-folding drafts is only suggestively visible in them. These delicate creases fit flush with their surroundings, constantly creating new patterns. This effect indicates a never-ending process of taking shape – therefore also the longing or attempt to escape the mortality of earthly things. Paradoxically, this idea is severely distorted by a foreign intervention – stepping on the panels, walking on them. Inevitably, the visitors will become part of the destruction or more likely the decay. The plates break beneath your feet, they are broken and what remains are traces. Leaving behind traces makes someone visible – they are positioning themselves. Any attempt to cover it up will fail miserably. Is it not the case that development and decay, as continuously occurring processes at all times, characterise human existence? However, getting to grips with this fact requires insight and an understanding that the end of an existence in no way means a discontinuation, but rather a conversion to a new form of being. Further, it is even a hymn to the beauty of the abyss, for the salvation of an object lies only in its breakdown – effusive, groundless and freed to experience something new.