Line We Draw and Defend against the Outside, 2025
Polystyrene boxes, temperature controllers, halogen light bulbs, wooden skull, candle holder, candle, taxidermic Sturnus vulgaris, mirror, banana peels, Drosophila melanogaster larvae.
A Line We Draw and Defend Against the Outside is an installation, light sculpture and affective cinematic experience engaging with notions of purity and contamination, politics and logistics of food and appetite, infection and perception of microbes. The wall-like structure, built from Styrofoam containers, originally used for the transportation of perishable goods across climates and customs, functions as sculpture as well as display and lightbox. The containers, repurposed into working incubators, are individually connected to temperature controllers using heat-emitting lightbulbs to create a thermally controlled and illuminated environment. The semi-permeable character of the containers emphasizes the containers materiality as an archive and witness of tangible interactions, the dominantly anonymized traces of human labor behind food shipped and transported through a global capital system of climates and customs. Through peep holes, the audience can glimpse into the incubators, where three miniature still life depict references to vanitas, Dutch naturalism, theories on the origins of life, germ theory alongside a three-part video work titled Corpse Happy: Easily Rotting, Easily Aroused is arranged.
Polystyrene boxes, temperature controllers, halogen light bulbs, wooden skull, candle holder, candle, taxidermic Sturnus vulgaris, mirror, banana peels, Drosophila melanogaster larvae.
A Line We Draw and Defend Against the Outside is an installation, light sculpture and affective cinematic experience engaging with notions of purity and contamination, politics and logistics of food and appetite, infection and perception of microbes. The wall-like structure, built from Styrofoam containers, originally used for the transportation of perishable goods across climates and customs, functions as sculpture as well as display and lightbox. The containers, repurposed into working incubators, are individually connected to temperature controllers using heat-emitting lightbulbs to create a thermally controlled and illuminated environment. The semi-permeable character of the containers emphasizes the containers materiality as an archive and witness of tangible interactions, the dominantly anonymized traces of human labor behind food shipped and transported through a global capital system of climates and customs. Through peep holes, the audience can glimpse into the incubators, where three miniature still life depict references to vanitas, Dutch naturalism, theories on the origins of life, germ theory alongside a three-part video work titled Corpse Happy: Easily Rotting, Easily Aroused is arranged.