Sculptural installation part of 'Pandora's Box' group exhibition at P7 Gallery
Danger, water, depth, light, time and wonder are the main ideas behind this piece. Standing in the intersection between sculpture and mixed media painting, this piece can be read from many different angles, directly reflecting to the viewer not only their own image, but also their perspective, their focus, the attitude with which they’re approaching the piece.
The interaction with the piece is aimed to present both the fears and the overcoming of those, to and through the viewer. The pieces of real broken mirrors evoke a sense of danger, of aggression even, as these formerly full mirrors had to be broken through the use of force so that the remaining pieces could become part of this new wholeness.
This piece, which can stand hanging on the wall if wanted to be seen as a painting, was initially designed to be placed on the floor. Done this, the desire to stand on it becomes an invitation, only there to discover that the piece is harmless, there are no sharp edges anymore, there’s no real danger.
This piece, which can stand hanging on the wall if wanted to be seen as a painting, was initially designed to be placed on the floor. Done this, the desire to stand on it becomes an invitation, only there to discover that the piece is harmless, there are no sharp edges anymore, there’s no real danger.
The broken mirror pieces are real, and are there, submerged between transparent layers of epoxy resin. The danger is frozen, is dominated, is preserved there to exist only in our imagination.
Once the piece is on the floor, and we’ve forgotten, or haven’t even noticed, the hundred broken mirror pieces, we can begin to see the piece as a unity, and here the piece transforms again.
This transparent material in which the mirror bits are floating could be a piece of ice, of paralized water, of frozen time. The way the light gets reflected and refracted all around the space, moving in a different direction with every mirror piece, resembles the way it interacts with a river. Waters or firepits that are alive, not calm nor settled, but which move slowly, even unnoticeably, but which will definitely have changed on our second glimpse.
Once the piece is on the floor, and we’ve forgotten, or haven’t even noticed, the hundred broken mirror pieces, we can begin to see the piece as a unity, and here the piece transforms again.
This transparent material in which the mirror bits are floating could be a piece of ice, of paralized water, of frozen time. The way the light gets reflected and refracted all around the space, moving in a different direction with every mirror piece, resembles the way it interacts with a river. Waters or firepits that are alive, not calm nor settled, but which move slowly, even unnoticeably, but which will definitely have changed on our second glimpse.
Conventional bad luck, and broken mirrors. Contemporary accidents.
Never done and never fully undone
Unbreakable because it was designed broken in the first place
If this unity ever breaks it would just feed its history
Reassert its destiny
And so, this non living object comes to life
and celebrates everyone who comes inspecting
giving them back their own light, their own reflection, their own reality
whilst also projecting it elsewhere, for you, or for no one
It responds only to the desire to look, enchanting like water for Narcissus
It is nothing by itself but broken pieces of reflections, a past that once was one and now is many
Fractions and refractions, slices of the present tied together with epoxy resin
Failing to reason
Bad luck some warned, bad luck stored, but yes indeed
(ominous clouds, black cats, the numbers 13 and 4)
Broken mirrors with all their bad reputation, danger
stored, frozen in time, chained, dominated, displayed
behind a safety fence of glass
Allowed to give us only what we present them
ourselves
The piece was exhibited in combination with a black wooden secret box for a group exhibition at P7 Gallery
Given a box and told never to look inside, Pandora cannot control her curiosity and opens it, unleashing evils on the world. But one thing remained hidden in the box, which could be the cure to all the ills released: Hope.
In the l ast few years, it’s felt like Pandora’s Box has been open. Our societies have been shaken by global health crises, diplomatic instability as well as environmental challenges.
In a world experiencing such turbulences, it is the role of the artist to tell and create narratives that will foster new ways of being and give hope to the new generations to embody change.
Berlin artists have gathered to offer a new twist on the Greek myth. Beyond Pandora’s Box stages journeys of healing and narratives of growth from moments of doubt and challenge.
Each piece will stage a radical transformation from one’s body and spirituality through the finding of Hope.
In the l ast few years, it’s felt like Pandora’s Box has been open. Our societies have been shaken by global health crises, diplomatic instability as well as environmental challenges.
In a world experiencing such turbulences, it is the role of the artist to tell and create narratives that will foster new ways of being and give hope to the new generations to embody change.
Berlin artists have gathered to offer a new twist on the Greek myth. Beyond Pandora’s Box stages journeys of healing and narratives of growth from moments of doubt and challenge.
Each piece will stage a radical transformation from one’s body and spirituality through the finding of Hope.
