A tree is a tree is a tree is a tree
For OpenART I recreated a tree made of a variety of tree species. In connection with the construction of the sculpture, my thoughts went on how it could come to act materially, ontologically and economically in relation to its surroundings. Furthermore, I also contemplated on how I could critically relate to a work that focuses on production and distribution.
Sometimes I find myself reluctant to working as an entrepreneur and thus I am indirectly strengthening the conditions of the market society. A destructive passivity arises, and it also becomes a standpoint. At the same time, there is an indomitable will to work and form the public and common landscape. This extends far over old Lutheran work ethics, and discards what I’m creating, even though it might cater to a demand or bring about meaning and prosperity. To recreate a tree of lumber became a way to negotiate these dualistic lines of thought. A way to move forward and backward in space at the same time, where the produced object ends up in its original position, or at least in a kind of speculative status quo.
I believe that the Industrial Revolution and later on the transition to an information society deprived us of being an active co-creator in our environment. We no longer encounter and handle the material and physical substances that surround us. The creative act and feeling of how a material behaves when bent, shaped and polished, is no longer a natural part of our everyday lives. These phases were automated and delegated a long time ago. Nevertheless, the things and the materials that make them up have become more important to us, while our understanding of how they are created has disappeared from the collective consciousness. 90 % of the late 19th century jobs have not existed for the past 50 years.
In my artistic practice, I use simple hand tools to create sculptures, which tell of their own materiality, form and creation in an autobiographical way. They are made through labor and they talk about labor. On this basis, I further on explore how the individual’s physical work and the collectives’ technological and capitalist culture shapes and values bodies. Subject as object, humans and things, materials as materials. I also consider my practice and myself as yet another material that is inevitably shaped by the often demanding work on the sculptures. In this way, the boundaries between the self, the process and the object are softened up and the question of what a subject or object is arises. The thing or the person?