Suddenly I’m standing there myself, without having planned it, by the glacier, shaken by how the snow is melting, by the thunder of rivers plummeting into the valley below. From a height of almost 2,500 meters I can see how bold lines are drawn through the glacier by ice and gravel, ending in a gravel pit. Everything is strangely still, distant and oppressive at the same time. And then the storm hits.
How can we understand and interpret what is happening in our own time? We learn again that we knew and that we know now. But we did nothing and we do nothing.
The work around Dead Reckon (2018–) and Sense (Universal(s)) (2020–) departs from overlapping topics and then assumes different standpoints, aiming to show different aspects of the problem that knowledge was not translated into experience, but could be.
Dead Reckoning means to determine your current position from previous measurements or estimates of your position and without input from a system measuring your absolute position. One major issue when relying on a Dead Reckoning solution is the sensor bias drift.1
The work takes place where actions from different time periods and different circumstances accumulate to make an imprint. It appears increasingly important to actively change our perspective, and to learn more about “the wood wide web,” starting with e.g. fungi and trees.2
One detail in the larger narrative of Sense (Universal(s)) is the fact that the words stress and burnout are nowadays used about human beings and nature – including the oak, which is the source of the ink used in some of the works shown.
The method used to produce the works in the exhibition “A Raft of Time” focuses on rendering abstractions comprehensible, like measurability, environmental effects, and time and place. The works depart from the points of intersection that arise when different topics overlap and create new perspectives.