Entering into form.
Folding beyond layers of folds.
Repetitions of ongoing processes.
Returning and leaving.
Human beings have an immensely complex relationship to space. We construct virtual borders of private and public that adapt situationally, and have concrete boundaries of our own rooms, homes and living spaces that are the hard frameworks for our sticky subsistence. Once built, we dwell within a building and it shapes the way we live, therefore what we construct also constructs the way we are. To live means to leave traces. (Holly Hendry)
The skin is built upon time. Time and experiences gathers here and the skin is continuously within an ongoing process of leaving and entering itself; repairing and renewing while also in a process of accepting the lines that are created from experiences. The skin is protective and strong while simultaneously vulnerable and soft. Fragmented in its own nature, the skin depends upon layers which give shape to the outlines of its form. What transpires when the body is placed within an image? Separated from its own form to exist merely as form and only within the boundaries of that form. Limited within the image it becomes obscure and takes on its own self. The image of our self is never simple nor one sided. What we observe is proximate and familiar to us, although one of the most complex images to comprehend. The self exists within the body and what we see is a representation and a visual structure which not always fit into what we understand as our self. The self-portrait only appears during the act of a certain violence, the act of self-objectification and a creation of the Other.
The most intimate of forms yet obscure and invisible. Finding ways to conceal what we would otherwise recognise can create unsettled feelings in relation to what we see. Slightest alteration to the habitual activates possibilities to turn it on its own head.
In a highly saturated image culture, there seem to be a desire to bring into view the strange and unfamiliar to perhaps question the ordinary. Invisibility and that which is concealed before the eye triggers imagination and inner images. The image echoes from the silence which creates a power of curiosity.
Freckles, sunburn, birthmarks and scars. Traces comes into view and passes, unaware of their own place in time. Some of the works in this issue draws attention to the inside and outside, flatness and fullness. The two-sidedness of things, a rhythm of this bodily pulse which can only be in its twosideness, just as breath or a pounding heart.
The unsettled feeling of a hollow body echoes in several of the artists works. The trace of what once was embodied becomes haunted in its absence. This absence can bring forward a reverse affect of a presence when a distant form comes alive in the hollowness. Some works emphasise on meeting points between intimacy and separateness, struggle and embrace. One is left with an image that does not give away all at once, the audience completes the work with their own bodily presence. The image can only be in relation to the process of seeing, this is where it comes alive and transforms in its own active stillness. An image can appear cold at first but inhabits a strange, unsettled closeness. Fascination can be found in forms that reminisce of domestic shapes related to functionality, that which needs to mirror the scale and proportions of the body in order to live up to its function. Images appear without a body but echoes its measurements and remind us of the familiar, the known.
In other works the opposite appear which contrast the geometric structures that are bound by the rules of functionality and goes beyond the surface of the exterior to invert it. The inside becomes outside and reveals excess materiality, an openness similar to a scar. Open cracks with formless liquids, the back side of things, the inside of things. One is not used to see the inner outside which brings forward an uncanny unsettledness.
Text by: Emma Bäcklund