Maybe I was too impatient, or the movement too subtle
Maybe I was too impatient, or the movement too subtle
Last January, I spent two weeks hiking through the Himalayas. This physical journey formed an artistic research process in which I focused on the relationship between human, matter, and landscape. During this trek, I examined how the generation of meaning shifts when the human scale is decentred in relation to the overwhelming presence of non-human entities
I am interested in situations where form and structure meet under duress. I work less with natural objects as given forms, and more with constructed conditions that test how material behaves. Rather than predetermining meaning, I approach each work as a situation in which material can actively participate in meaning-making.
The works in this exhibition are the result of this working method. They function as open situations in which material actively participates in the formation of meaning, without it being fixed in advance by human intention or symbolism.
Last January, I spent two weeks hiking through the Himalayas. This physical journey formed an artistic research process in which I focused on the relationship between human, matter, and landscape. During this trek, I examined how the generation of meaning shifts when the human scale is decentred in relation to the overwhelming presence of non-human entities
I am interested in situations where form and structure meet under duress. I work less with natural objects as given forms, and more with constructed conditions that test how material behaves. Rather than predetermining meaning, I approach each work as a situation in which material can actively participate in meaning-making.
The works in this exhibition are the result of this working method. They function as open situations in which material actively participates in the formation of meaning, without it being fixed in advance by human intention or symbolism.
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