In here we are all in peace
2023 spatial installation Destillaat #25, Extrapool, Nijmegen
baked stoneware fountain vessel pumping rooibos tea, 5 unfired clay vessels slowly dissolving in liquid, a poem and a risoprinted wallpaper
in here we are all in peace is a spatial installation developed during my residency stay at Extrapool. The installation is a product of continual exploration of the relation of water to beings and materials. Running on the overarching thought that everyone is a body of water, as proposed in the text Bodies of Water: Posthuman feminist phenomenology by Astrida Neimanis, I built an oasis of interconnectedness and togetherness. Here, hydration is seen as a community ritual, an enhancement of the communal body of water we are all connected to and entering and existing in this space together is an act of care in a hostile, fast-paced world.
Unfired clay vessels mimic human bodies growing backwards as they are being hydrated and slowly dissolved into their previous form. Their transformation back into raw form of material is seen as a performance and spans over various days as the act of recycling clay is a lengthy and physical process.
Via this action, clay reclamation becomes a poetic metaphor for rebirth, enhancing the same external pool we are when we have a cup of water.
2023 spatial installation Destillaat #25, Extrapool, Nijmegen
baked stoneware fountain vessel pumping rooibos tea, 5 unfired clay vessels slowly dissolving in liquid, a poem and a risoprinted wallpaper
in here we are all in peace is a spatial installation developed during my residency stay at Extrapool. The installation is a product of continual exploration of the relation of water to beings and materials. Running on the overarching thought that everyone is a body of water, as proposed in the text Bodies of Water: Posthuman feminist phenomenology by Astrida Neimanis, I built an oasis of interconnectedness and togetherness. Here, hydration is seen as a community ritual, an enhancement of the communal body of water we are all connected to and entering and existing in this space together is an act of care in a hostile, fast-paced world.
Unfired clay vessels mimic human bodies growing backwards as they are being hydrated and slowly dissolved into their previous form. Their transformation back into raw form of material is seen as a performance and spans over various days as the act of recycling clay is a lengthy and physical process.
Via this action, clay reclamation becomes a poetic metaphor for rebirth, enhancing the same external pool we are when we have a cup of water.
