Stuck outside the border

Outside Border, part 2: the objects.

1. All that lost potential

Even without violence, time slowly shuts you down. It deposits layers of leftovers from the borders you couldn’t cross. Rust spreads, corrodes and buries you, makes you useless. Not crossing means you are stuck, closed out and closed in at the same time.

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2. All those dreams

In the game of acting yourself every day, where do we keep the things we save for later? The ageing dreams and the abandoned plans. Where do the unused end up when we forget about it? When we give it up.

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3. All the perspectives

The cost of sorting is paid by the sorted – placed in a category that shapes who they can be. But also by everyone else, when all the problems they could have solved go unsolved.

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The cost of drawing a line

New project, made in response to an exhibition invitation from curator Winnie Pelz. Part 1: the process.

Starting point

“The European colonists created an egg without a chicken, a logical absurdity repeated across the continent and one that continues to haunt it.” Tim Marshall, Prisoners of Geography

What is this island I stand on? And what is the rescue I’m hoping for? I’m waiting. To be useful. To cross the border. To be whatever “me” is.

What is the cost of drawing a line?

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Without the right key

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you’re stuck between doors

rusting while waiting.

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Forgetting how

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all the doors we could have opened

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no longer apply.

After a summer outside

In early October it was time to take down the “In the periphery” exhibition. The weather had changed and aged the pieces in interesting ways. The wax had gotten sunburnt, some of the jars was filled with water, little algae and rust was climbing up my grandmother’s mazarines, only her hat acted as if nothing had happened while the moss grew around it.

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They live in the window of my studio for now.

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The wonder and crime of curiosity

I have been four people in this project. The explorer, the introvert, the organizer and the corpus maker.

The explorer is the one traveling the ocean, looking at the world with curiosity and deciding to own it. Ruthless science and colonialism: to do because we can, or to do to find out if it can be done.

hälsa evolutionen liten“Tell Evolution”

One of the most common questions I got during the exam exhibition was what material the branch is made of. When I answered “raw hide… skin”, the asker’s look changed and they just had to ask “human skin?”. I wonder how we can be explorers without being colonizers.

det överblickbaraliten“The travelable distance”

The introvert is the one remembering that we might sleep half a meter away from another person, but a wall of concrete make us exist in different worlds. We are only aware of the neighbours upstairs when they are disturbing us, we co-exist at a distance and agree to pretend that someone else will save the world.

lägenheten bredvid och om de inte liten“The apartment next to theirs” (left) and “If they weren’t made to be empty” (right)

The organiser is the one documenting and collecting. Sorting the world and combining the fragments into our preferred version of reality. Ideally I would like my work to meet an audience slowly and quietly, like the way you find lost things in the attic and you wonder who they used to belong to.

vår föredragna version 4“Our preferred version of reality”

The corpus maker is the one placing the borders around pieces of emptiness, the definer of inside and outside. Possibly even the creator of inside and outside, since neither of them can exist without the meeting place that is the border.

den enda andra 1liten“The only other piece of land”

examenlitenExam presentation set up.

vårutställningen 1litenExam exhibition with cast concrete floor and 4 of 7 pieces.

Done. Next project.

 

 

Back to the Island

In theory the island has a clearly defined border. But where is it? The shoreline? In that case: low or high tide? Stormy weather or calm waves? Do the rivers belong to the island or to the ocean? And what about islands that are connected during low tide but separated during high tide?

IMG_2607Line: shellac and steel

IMG_5056Tunnel: shellac and fabric

IMG_3139Ocean: shellac and concrete

IMG_3060Tunnel with hand: shellac, fabric and hand

IMG_5178Melting: shellac and fabric

IMG_5016The amazing beauty of shellac in sunlight

Memories of my grandmother: day 12 (last day)

Dear grandmother,

Do you remember that time when I helped you to move? I was so efficiant in packing away your kitchen things that you had to call me for months afterwards to ask where things where hidden. We are right by that house now. Your last house, with the amazing view. We reached the sea finally, crossing half this country on foot to get here. I remember you walking slowly in this place, your hip hurting more and more. But you never stopped picking away the weed that wanted to live in your driveway. You brought a foldable chair with you, sat down and picked away, then moved the chair one step foreward, sat down again and continued. You had plans when you moved here, even though you somehow knew you where moving back north to die. Someone else live in your house now. They are not as good at picking away the weeds, but I’m sure they love the view. We slept the last night at that museum you liked so much, they have cottages for hire now in the middle of all the historical buildings. We had dinner at the same table where you and I ate. We talked about you. We will continue to talk about you.

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Fragment 13: a piece of weed from her driveway, since she is no longer there.

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The sea at last.

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The cliffs fall apart like cubes here.

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Detail from one of the sets at the museum Mannaminne.