-ceramics-mixed media drawings-
Co-creators:
Photography and Asistence-Sabine Peter
Catalogue Design-Clemens Gensch
Text-Angela Liebe
Asistant-Elizaveta Kovalenko
In Similar–Ähnlich I presented a personal hoard composed not of precious artefacts, but of intimately gathered correspondences—arranged in a temporary constellation: some on the floor, others unfolding across the wall. The exhibition emerges from a practice between ceramics, drawing, video, and participation in collaborative projects. Here, the work is less about completion than about kinship: how things echo, resemble, lean toward one another—and how new forms are drawn out from the old.
These groupings are ähnlich to one another—similar not in sameness, but in resonance. A round, egg-like object, which I refer to as The Star Object, recalls its firing in an open fire on a rainy night. It now appears both as itself and in replication—its drawn and digital copies spreading outward, multiplying. A pencil line mirrors the soft edge of a wooden cut-out, practiced with a jigsaw—a tool that has scared me for many years prior. A collection of ceramic shards settles the bend of paper. An invitation to trace the relationships between materials and our interactions with them—not to decode it, but to dwell in their proximity.
There is no hierarchy here. Everything lies close to the ground or the wall. The hoard asks to be looked at slowly, perhaps even knelt beside. It is not an archive, but a breathing arrangement of almosts and nearlies, of things that remember each other across media, time, and language.
The exhibition opening was acompanied by the release of a catalogue titled In Case of Not Knowing, which both reflects on past works and offers poetic entry points into the present exhibition. Samples of the catalogue lie on a day bed built for the exhibition. Writing about the works in the catalogue Jasmin Al-Qaisi offers a thought:
“Daydreaming is resistance. It holds a politics of play and joy in itself. Methodologically dreaming, day-dreaming methodically—it’s an inheritance as well. Building worlds of possibility is making a case for a sense of things. The objects make sense in relation to the people around them who shape them through actual speech.’’ — Jasmin Al-Qaisi, In Case of Not Knowing
Similar–Ähnlich is both an exhibition and a calm proposal: that meaning often lives in what is adjacent, approximate, reflecting—not in what is fixed or identical, but in the gentle insistence of things that nearly touch.
Co-creators:
Photography and Asistence-Sabine Peter
Catalogue Design-Clemens Gensch
Text-Angela Liebe
Asistant-Elizaveta Kovalenko
In Similar–Ähnlich I presented a personal hoard composed not of precious artefacts, but of intimately gathered correspondences—arranged in a temporary constellation: some on the floor, others unfolding across the wall. The exhibition emerges from a practice between ceramics, drawing, video, and participation in collaborative projects. Here, the work is less about completion than about kinship: how things echo, resemble, lean toward one another—and how new forms are drawn out from the old.
These groupings are ähnlich to one another—similar not in sameness, but in resonance. A round, egg-like object, which I refer to as The Star Object, recalls its firing in an open fire on a rainy night. It now appears both as itself and in replication—its drawn and digital copies spreading outward, multiplying. A pencil line mirrors the soft edge of a wooden cut-out, practiced with a jigsaw—a tool that has scared me for many years prior. A collection of ceramic shards settles the bend of paper. An invitation to trace the relationships between materials and our interactions with them—not to decode it, but to dwell in their proximity.
There is no hierarchy here. Everything lies close to the ground or the wall. The hoard asks to be looked at slowly, perhaps even knelt beside. It is not an archive, but a breathing arrangement of almosts and nearlies, of things that remember each other across media, time, and language.
The exhibition opening was acompanied by the release of a catalogue titled In Case of Not Knowing, which both reflects on past works and offers poetic entry points into the present exhibition. Samples of the catalogue lie on a day bed built for the exhibition. Writing about the works in the catalogue Jasmin Al-Qaisi offers a thought:
“Daydreaming is resistance. It holds a politics of play and joy in itself. Methodologically dreaming, day-dreaming methodically—it’s an inheritance as well. Building worlds of possibility is making a case for a sense of things. The objects make sense in relation to the people around them who shape them through actual speech.’’ — Jasmin Al-Qaisi, In Case of Not Knowing
Similar–Ähnlich is both an exhibition and a calm proposal: that meaning often lives in what is adjacent, approximate, reflecting—not in what is fixed or identical, but in the gentle insistence of things that nearly touch.
-plant matter- found materials- landscaping workshops-mixed media drawings-ceramics-video installatio-birthday parties- a short experimental documentary-
Co-creators:
Carys Cook
From the A
A crop that reaches maturity in a relatively short time, filling a gap between harvests. often planted as a substitute for a crop that has failed or at a time when the ground would ordinarily lie fallow.
A garden that was sprouted on the rooftop of a temporary project space ‘From The A’ in Bremen. The former garden artefacts, seeds, and decay were transported to Künstlerhäuser in Worpswede, Haus 6 and its surroundings to take new shape, begin new cycles.
The garden started its life in temporarily available grounds in the city. Contributing to the urban flora landscape, restricted in containers, elevated, far from the ground. To transport the garden to the countryside would be to offer the garden a new perspective. Offering roots the right to roam, pollen discourse between native and suburban balcony plants, an altered architectural landscape sculpted by the silhouettes of plants situated by the human hand.
The garden in all its stages has offered a platform and inspiration for artistic development and production. It has offered a space for gathering, discussion, working with clay, drawing and body work.
The garden continues to roam, to grow, as well as the art works and initiatives alongside.
Co-creators:
Carys Cook
From the A
A crop that reaches maturity in a relatively short time, filling a gap between harvests. often planted as a substitute for a crop that has failed or at a time when the ground would ordinarily lie fallow.
A garden that was sprouted on the rooftop of a temporary project space ‘From The A’ in Bremen. The former garden artefacts, seeds, and decay were transported to Künstlerhäuser in Worpswede, Haus 6 and its surroundings to take new shape, begin new cycles.
The garden started its life in temporarily available grounds in the city. Contributing to the urban flora landscape, restricted in containers, elevated, far from the ground. To transport the garden to the countryside would be to offer the garden a new perspective. Offering roots the right to roam, pollen discourse between native and suburban balcony plants, an altered architectural landscape sculpted by the silhouettes of plants situated by the human hand.
The garden in all its stages has offered a platform and inspiration for artistic development and production. It has offered a space for gathering, discussion, working with clay, drawing and body work.
The garden continues to roam, to grow, as well as the art works and initiatives alongside.
-mixed media drawing series and installations-
2019-ongoing
‘Some number of drawings gather on the ground. Organic forms push to the edge of paper compliantly bending as the watercolor dries. Islands, plants, half of an animal (maybe), watery depths or airy spaces abound. Julija Paškevičiūtė offers a landscape of shifting forms in her work It turns out that color is the mediator between hard-edged categories and the nothingness (which is the everythingness) of being. The title is a quote from Michael Taussig’s What Color is the Sacred?
The year-long process which lead to this installation blurs the hard-edges between each component drawing, allowing Paškevičiūtė to resist the stillness of completion. Each drawing flows into the next. It turns out that color is the mediator between hard-edged categories and the nothingness (which is the everythingness) of being is a work of art which remains persistently unfinished. Just as the paper settles in response to the application of watercolor, the work adjusts to its new grounds. Paškevičiūtė’s keen interest in organic forms is clear in this work. Here she presents her own nature, one that grows on its own impulse.’
The year-long process which lead to this installation blurs the hard-edges between each component drawing, allowing Paškevičiūtė to resist the stillness of completion. Each drawing flows into the next. It turns out that color is the mediator between hard-edged categories and the nothingness (which is the everythingness) of being is a work of art which remains persistently unfinished. Just as the paper settles in response to the application of watercolor, the work adjusts to its new grounds. Paškevičiūtė’s keen interest in organic forms is clear in this work. Here she presents her own nature, one that grows on its own impulse.’
-text by Albinas Teperis, from the Shunted Sculptures Fleeting Words catalogue.