Kris Martin’s practice is poetic and contemplative. With monumental and small-scale sculptures, drawings, photographs, performances and interventions, he draws attention to the notion of time, often by attempting to mark, halt or transcend its inevitable passing. Frequently, his work engages in humankind's most fundamental issues with a wry sense of humor and play, reminding us of our own mortality and futility. A part of Martin’s work uses found objects that he transforms through a subtle repositioning or intervention. The result is a loosening of fixed identities, the subversion of established systems and hierarchies, and the opening up of a new space for reflection, resistance and creativity. In War museum, Martin scales the room down by means of a small oil painting and a miniscule silver cross. Two bombshells appear like blow-up sculptures of monstrous weapons. They can be linked to other work of the artist like Mandi XV, a 7-meter-long and hence useless sword that questions power and the absurdity of war.