Matter Matter 2023


Sculptures, sound-piece with projection, and (video)essay.

Matter matter begins with Being-as-I Remembers Being-in-a-material-place: an essay in which I, as a person return to the awareness of a being-in-a-material-place; the sum of Self, non-self, and otherness. Non-self provokes me, through stimulating my senses. It touches me through my skin, the border of my being. This perspective opposes what I was taught; that a thin layer of cells separates me from the rest of my life. One past has become many memories, as our beings have become seemingly solid, isolated phenomena.

•

I look into your eyes

With the desire to see One




I do not dare to speak

My eyes show me a truth

The Selfother appears 




I look into your eyes

To find that I am alone

The moment I move my tongue

I return to be You and me

•


Mattermatter on display, with paintings Paulína Gajerova. 

Remembering is a mental activity. We have feelings when we remember, but we don’t think that we know the feelings that belong to the images. Knowledge has been contributed to mental exercise.

I can only look back in time to see my I; a body of human flesh and blood, my face, and typical movements. Through the images, I recognize the patterns that are the result of my past intention expression. It is through these patterns that I understand myself. They define my current Self and intentional expression. In the images, non-self takes place in the ‘out of focus’.

Through a passage along a waterbody, non-self becomes integrated into my past and current identity.

•

Becoming self-other-conscious means to immerse and emerge, zooming in to zoom out, laying down to resurrect, and waking up to fall asleep. The movement from being-as-I, into being a being-in-a-material-place is not homogenous nor three-dimensional. The movement happens in two directions, in three different realms at once. I shrinks, Self grows, Other changes. I runs, Self waits, Other changes. I inhales, Self exhales, Other changes.

•



Rest In Unsophisticated Movement
Sculpture, fabric, foam, chicken wire, acrylic paint
80 x 50 x 60 cm



This is a body that lacks proprioception, awaiting anything to happen. It is the I who eats the insides of the sensory being that has to slow down but has slowed down so much already. The cocoon-shaped, timid body has been warped, and hung, shaped, deformed, stitched up, and partially coated. The piece is a reflection on the meaning of the body as a porous phenomenon that holds meaning through accumulation and affects directing, to encounter, immerse, and emerge with non-self. Although our bodies are separated in front of our eyes, the borders of our bodies are liquefied, in the constant exchange with our physical environments.




• 

We do not dabble in the waters of feelings before we make statements.

We begin to move, without the proprioception that we need to keep us from falling.

We do not remember the movement that we made as One.

•




Lower Bellied Looking Up
Sculpture, ceramics, fired and unfired washed soil
40 x 50 x 30 cm



The one that has become connected in body and mind, here looking up from the ground that has been touched completely.

•

‘You have holes in your body. Looking up from here, You seem restless, confused, disorientated.’

•


This vessel is a reflection of the process of individuation. The figure is an empty shell that is in a receiving shape, looking up at the hanging body. The brown and red clay powder is the soil that I live on, which has been washed, sifted, and dried in a soil washing ritual that I have practiced from April to June 2023 to relate more to the earth element. The red outer circle has been fired in the shape of an egg to return to the soil.




Waterbody
Sculpture, ceramics, water, and scent that was produced by Rachel Barfield at Mediamatic.
60 x 70 x 70 cm


•
I continue to walk next to the water here. For now, the water is alone, and i am too. Your absence gives the Waterbody space to speak.
•


Whilst holding this water - as a matter of identification beyond I -, the sculpture spreads the estranging smell of natural water bodies. Layers of the clay are revealed to emphasize that its shape is hand-built, based on visceral rhythms. We look at water moved and unmoved, as it resonates along with our surroundings. The sculpture formally refers to the gut as an interface for the collective unconscious and individual conscious., and invisible exchanges amongst living and non-living matter.



Seeds of Patience
Video-loop and sound-piece 6 min. 


This video-loop is projected in the same space as the sculptures, proposing a synthesized reality of their washing hands, matter, and hands. The sound-peace that is played in the meantime is based on a breathing exercise to practice physical patience - supporting the sculptures in their stillness, whilst creating an alienating atmosphere.



Matter Hands Water, video-loop