Item falls, autumn falls
I: UV print on thermoplastic sheet, jug,
W. 52 cm, H. 65 cm, D. 13 cm, 2020
II: UV print on mould, plant, glass,
W. 55 cm H. 172 cm D. 24 cm, 2020
III: pencil on stone slab,
W. 60 cm H. 60 cm D. 2,5 cm, 2020
IV: engraving on wooden board,
W. 40 cm. H. 30 cm. D. 5 cm , 2020
Artist feature, Synchron Magazine, visual art and fiction, Pilot Issue, 01/ 2021
Notes on footnotes
1 Geologists and archeologists, those instruments of consciousness who are engaged in
reawakening the memory of the world, have one guiding principle for their work. It is called the law of stratification, but it is as simple as falling downstairs – and, indeed, resembles it in that both are inevitable results of the work of gravity. (Hawkes, Jacquetta: A Land, 1991)
2 30.07.1998 1700. Wodurch entsteht eigentlich Wahrheit, im Text? Durch nichts Einzelnes, durch kein Detail. Nicht durch die Selbstdeklaration der Sache als Realität, Kunst, Trash, Reportage, als Wirklichkeit oder auch als Wahrheit, eh klar. ( Rainald Goetz: Abfall für alle, 2003 )
3 In all these legends human beings have seen themselves melting back into rock, in their imaginations must have pictures the body, limbs and hair melting into smoke and solidifying into these blocks of sandstone, limestone and granite. Some feeling that the converse of this idea arises from sculpture. (Hawkes, Jacquetta: A Land, 1991) Some things that fly there be—Birds—Hours—the Bumblebee—Of these no Elegy. Some things that stay there be—Grief—Hills—Eternity—Nor this behooveth me. (Emily Dickinson, 1859)
4 One goal of material culture studies based on the idea of recursivity is the illumination of difference between the messages on the surface of things and the models of society enacted by people’s use of them or, more colloquially, the differences between what an item of material culture promises its users and what it delivers, especially when what is delivered has no apparent connection to an object’s function. (Potter, P.B. Critical Archaeology: In the ground and on the street, 1992)
Does a flawed hypothesis allow us to gain insight into the society around us?
The object world, every single object, can be perceived as an artifact of a present time, shaking off its cultural and physical location1. The beholder thus becomes an archaeologist who tries to trace back its origin, its purpose and its owner.
Perception is becoming a hypothesis at this point and objects are no longer vessels, not carrying any lasting content within them.2 The aspect of time is inherent to them and they hold several timelines that cross, diverge and overlap. Objects are appearing as delayed and premature fictions, never in touch with the present moment but unfolding its weight as real time within fiction.3
Item falls, autumn falls are time sculptures in which time itself is considered as a medium in order to make these objects visually collide with their timelines4 - a plant aging away, while its mold takes on photographic attributes, a jug revealing its surface as a repetition of references, a watchman watching.