A Vast Sea Of Wounded Flourishing
2019
plaster, clay, acrylic paint, LED lights,
single channel video projection, text
map
sound: Agatha Lewandowski
The installation focuses on how traumatic experiences affect the bodily existence of an individual. The emphasis lies in the representation of social body and its connection to traumatic experiences within an intimate relationship. The work touches upon the vulnerability of the human being, this almost directly refers to this statement by the contemporary philosopher Matha Nussbaum:
“we are more plant-like than jewel-like. Jewels don’t flourish, they just sit here”
The installation takes over the gallery space and becomes a Being of its own. Organic structures appearing uncanny and alive are accompanied by a profound sound piece as well as complimentary light sculptures. By entering the installation the person encountering it almost naturally becomes part of it as the emotional value of the experience materialises. The abnormal exposition of fragile objects that oppose the powerful and controversial words that are floating around the room are combined with hopeless and abstract images to recreate the anti-catharsis of a subjected body. The existence of body in social role and the coldness of human physicality, devoid of any incantational meaning, is grown to be emotionally universal. The work puts body into a structure of multiple distorted mirrors and uncovers a reinscribed patriarchal notions of femininity.
Essentially, the installation consists of sculpture, poetry, video and sound subsumed into one another. The affair of trauma and the meaninglessness of the gendered body corresponds with each medium and approaches the viewer filtered through the intimacy of an individuals’ relationship with themselves. The work, being both sensual and tragic, painful and humorous, resonates with the feminist tenets of the role of the vulnerable and gendered body.
“(The abject is) not me. Not that. But not nothing, either. A something that I do not recognise, as a thing. A weight of meaninglessness, about which there is nothing insignificant, and which crushed mean the edge of nonexistence and hallucination, of a reality that, if I acknowledge it, annihilates me. There, abject and abjection are my safeguards. The primers of my culture”
2019
plaster, clay, acrylic paint, LED lights,
single channel video projection, text
map
sound: Agatha Lewandowski
The installation focuses on how traumatic experiences affect the bodily existence of an individual. The emphasis lies in the representation of social body and its connection to traumatic experiences within an intimate relationship. The work touches upon the vulnerability of the human being, this almost directly refers to this statement by the contemporary philosopher Matha Nussbaum:
“we are more plant-like than jewel-like. Jewels don’t flourish, they just sit here”
The installation takes over the gallery space and becomes a Being of its own. Organic structures appearing uncanny and alive are accompanied by a profound sound piece as well as complimentary light sculptures. By entering the installation the person encountering it almost naturally becomes part of it as the emotional value of the experience materialises. The abnormal exposition of fragile objects that oppose the powerful and controversial words that are floating around the room are combined with hopeless and abstract images to recreate the anti-catharsis of a subjected body. The existence of body in social role and the coldness of human physicality, devoid of any incantational meaning, is grown to be emotionally universal. The work puts body into a structure of multiple distorted mirrors and uncovers a reinscribed patriarchal notions of femininity.
Essentially, the installation consists of sculpture, poetry, video and sound subsumed into one another. The affair of trauma and the meaninglessness of the gendered body corresponds with each medium and approaches the viewer filtered through the intimacy of an individuals’ relationship with themselves. The work, being both sensual and tragic, painful and humorous, resonates with the feminist tenets of the role of the vulnerable and gendered body.
“(The abject is) not me. Not that. But not nothing, either. A something that I do not recognise, as a thing. A weight of meaninglessness, about which there is nothing insignificant, and which crushed mean the edge of nonexistence and hallucination, of a reality that, if I acknowledge it, annihilates me. There, abject and abjection are my safeguards. The primers of my culture”