​Developed during a residency at Seljavegur, Iceland, the work emerged in response to the outbreak of war and displacement in Ukraine and to a collective public gathering organised in Reykjavík in support of the Ukrainian people. Listening repeatedly to recordings from the event, sculpture, drawing, performance, and moving image evolved through processes of repetition, accumulation, and material improvisation.

Forms gather through materials close to hand: folded fabrics, graphite drawings, foam structures, found objects, volcanic stone, native plants, and temporary constructions. Bodies appear partially held within shifting environments, moving between familiarity and disorientation, shelter and exposure. Materials are carried, stacked, folded, suspended, and rearranged, allowing gestures of searching and orientation to unfold gradually through space.

Across the installation and live performance, spectators were invited to crouch, lean, hold awkward positions, and encounter the work from altered physical perspectives. Viewing became a bodily act shaped through proximity, duration, and shared attention. Sound, landscape, and collective presence remained in continual negotiation, where meaning emerged not through fixed narrative, but through the unstable connections formed between bodies, materials, memory, and place.

Inspired in part by the public gathering Singing for Ukraine, organised by Guðrún Jóhanna Ólafsdóttir in Reykjavík.
 

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Materials​

wood block, metal rod, pee hole box, monitor, upholstery foam, rubber nipple,  satin fabric, plastic cable wire, foam pad, acrylic on canvas paper, board panel, spray paint, mirror, plywood, ink, nails, velcro tape, screws. 

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Dimensions

various dimensions ​​​

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Photographs

performance and installation view, Sarah Degenhardt. ​​​

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Year

2022

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