the scene is fluid, 2022
short film, ceramic sculptures, quilts, sculptural costumes
developed within KAMEN Artist Residency (Bosnia & Herzegovina)
funded with the help of Amarte Fonds
Exhibitions:
Atari, No Man’s Art Gallery, 2023
open:source pop-up gallery, 2023
KAMEN Artist Residency, 2022
the scene is fluid takes shape as an assemblage of sculptural costumes and a video-poem that narrates questions concerning surface and transformation in a non-linear way. Surfaces of the direct landscape of the residency where it was created, and its inhabitants - like the bottom of a lake, reflections on the water and animals - find their way into the works.
Puffed up textile and paper are held together by meandering lines of stitching, which can be seen as narrative lines, a body’s veins, or nerves for sensing. The skin-like fabrics invite a potential wearer, and the viewer, into a process of ‘becoming-other’ and an experience of ‘embodied estrangement’. This suggestion of transformation continues in the video work by means of digital layering and superimposition.
short film, ceramic sculptures, quilts, sculptural costumes
developed within KAMEN Artist Residency (Bosnia & Herzegovina)
funded with the help of Amarte Fonds
Exhibitions:
Atari, No Man’s Art Gallery, 2023
open:source pop-up gallery, 2023
KAMEN Artist Residency, 2022
the scene is fluid takes shape as an assemblage of sculptural costumes and a video-poem that narrates questions concerning surface and transformation in a non-linear way. Surfaces of the direct landscape of the residency where it was created, and its inhabitants - like the bottom of a lake, reflections on the water and animals - find their way into the works.
Puffed up textile and paper are held together by meandering lines of stitching, which can be seen as narrative lines, a body’s veins, or nerves for sensing. The skin-like fabrics invite a potential wearer, and the viewer, into a process of ‘becoming-other’ and an experience of ‘embodied estrangement’. This suggestion of transformation continues in the video work by means of digital layering and superimposition.
The project focuses on two species of the area of the Bileca lake: the Proteus Anguinus (endemic and endangered cave salamander) and the Quagga-mussel (invasive species). Both animal species live within the same natural landscape of the man-made lake providing Bosnia & Herzegovina with hydroelectric energy. To intuitively unpack how these species relate to the environment and each other, costuming is used as a tool. How does this endemic, endangered salamander which can only survive in specific (clean) chemical circumstances, relate to the invasive and flourishing mussel?
Through evolution, the Proteus salamander (also known as the human-fish) moved from the Adriatic Sea into the caves. Its body and brain adapted, responding to the stresses of its changing habitat. It got rid of its eyes and evolved a highly sensitive skin. The salamander senses its dark environment by magnetic fields, sound waves and temperature changes. This highly complex nervous system is a mediator between the organism itself and its environment. The video-poem zooms in on this specific way to sense a surrounding, and on finding direction in a destabilized environment. How to be at ease in a not-knowing, foggy and dwelling world, trusting intuition and instinct?
Several feet above the cave-salamander, we find the Quagga-mussel with its hard shell which the soft creature inhabits. Due to its abundant presence on shores and rocks there is no way of hiding from this creature. The mussels cut your feet and grow on everything they can reach, covering the surface of the landscape. The video-poem explores how this plurality conjoins with dissolving into the landscape, or perhaps claiming the landscape. The works of the scene is fluid consider the bodies and senses of these living creatures as situated answers to the question of how to perceive the world.
Through evolution, the Proteus salamander (also known as the human-fish) moved from the Adriatic Sea into the caves. Its body and brain adapted, responding to the stresses of its changing habitat. It got rid of its eyes and evolved a highly sensitive skin. The salamander senses its dark environment by magnetic fields, sound waves and temperature changes. This highly complex nervous system is a mediator between the organism itself and its environment. The video-poem zooms in on this specific way to sense a surrounding, and on finding direction in a destabilized environment. How to be at ease in a not-knowing, foggy and dwelling world, trusting intuition and instinct?
Several feet above the cave-salamander, we find the Quagga-mussel with its hard shell which the soft creature inhabits. Due to its abundant presence on shores and rocks there is no way of hiding from this creature. The mussels cut your feet and grow on everything they can reach, covering the surface of the landscape. The video-poem explores how this plurality conjoins with dissolving into the landscape, or perhaps claiming the landscape. The works of the scene is fluid consider the bodies and senses of these living creatures as situated answers to the question of how to perceive the world.
exhibition view No Man’s Art Gallery
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Exhibition view KAMEN![]()
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Exhibition view KAMEN
