Features in display
Features in display
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Features in display

Series of objects, 2017-2021
Residues collected from environmental

contaminated areas, driftwood, ceramics, bones,
iron, concrete cast, plaster, and glass.
16x11x5cm

 

The accumulation of industrial waste of varied origins dumped in the environment in many regions of the planet produces contamination of different types and at different levels, caused by substances in the very composition of these materials. It constitutes an urgent and extremely complex issue to be considered and in addition to being a socio-environmental issue, it also configures new paradigms of temporality. Modern industrial wastes have properties of durability and ubiquity: they do not degrade easily and are everywhere, leading to reflections on 'what does it means to belong to a permanently contaminated environment?' How to end this cycle? Would incorporating this contamination be a strategy to surpass and survive it? Is there room for aesthetic approaches in this scenario of emergency, disruption, and devastation? Or beyond, what would be the role of artistic practice in it?

 

There is then a phenomenological expressiveness in the instant of encounter with such materials that often reveal themselves as potential articulators of dialogues that allow us to emancipate from more orthodox notions of the relationship between human and non-human entities. Further, these materials reflect how uncontrolled industrial activities produce modes of ruin with unique, unspeakable and architectural fossils that already alter our perception of the future.

Prosaic’ objects become signs of history, which have to be deciphered. So the poet becomes not only a naturalist or an archaeologist, excavating the fossils and unpacking their poetic potential, he also becomes a kind of symptomatologist, delving into the dark underside or the unconscious of a society to decipher the messages engraved in the very flesh of ordinary things. (The Aesthetic Revolution and its Outcomes - Jacques Ranciere)

The works are composed of small sculptures made of contaminated materials and found objects trapped on glass displays that suspend their action, allowing visual contact but no recognition of their origin of function. These unknown encapsulated objects are small and from different regions in separated spaces but at the same time they all belong to the hyper-condition of a 'contaminated reality'. The works were collected and produced between 2017 and 2021 gathered in areas where large-scale industrial activities or environmental disasters have been reported in different regions of South America and Northern Europe.

IMG_2043.jpg

Features in display

Series of objects, 2017-2021
Residues collected from contaminated 
areas, driftwood, ceramics, bones,
iron, concrete cast, plaster, and glass.
16x11x5cm

IMG_2039.jpg
IMG_2045.jpg

Features in display

Series of objects, 2017-2021
Residues collected from contaminated 
areas, driftwood, ceramics, bones,
iron, concrete cast, plaster, and glass.
16x11x5cm

Features in display

Series of objects, 2017-2021
Residues collected from contaminated 
areas, driftwood, ceramics, bones,
iron, concrete cast, plaster, and glass.
16x11x5cm