Paul Wiersbinski’s series of vignettes display luminous flashes of insight and creativity; rapturous thought, violently forced into sculptural form. The low-fi drawings and abstract language reach into the unconscious substratum of form-making and show traces of an intensive process, while remaining always one step removed from interpretation; always ultimately undecipherable. A beautiful space of dissonance emerges between the text and images, a grainy territory one must struggle to traverse and find stable ground in.
Cecilia Lundbäck, Ulrika Karlsson, Veronica Skeppe’s submission is a mysterious landscape that upon first glance can barely be noticed. Geographic transformations emerge and disappear. Where a pile once sat, now lays a hole. Humans arrive to find new work has been done; what they left is not it is now. A strange terrain emerges by the labor of other actors, other agents, with other motives. Other traces, other artifacts, other machines are left behind for us to decipher other ways of inhabiting the earth.
“House of the Morfar” by T. Joseph Surjan is a beautifully illustrated proposal that allows fantasy to dwell. Previous inhabitants haunt the site; their lives inscribed into the earth. The bakery, the workshop, the natatorium… each form shows evidence of intensive inhabitation, of labor and experimentation to find just the right fit. Complex narratives of loss, of joy, of habit, have all left their traces. Now abandoned, these structures beckon to parkgoers with the name of their previous in-habit-ants: the baker, the carpenter, the swimmer. An open invitation to explore a form of life that fit another so well and dwell within its cracks.