Katrina Schneider: detonation, 2021
This work consists of 10 pieces. The ten objects form a system of several past, present and future phases and roles of and within society. The patient is the empty human being, child, body, mind, and vessel. The filler as the structure, the culture, the concrete dark sides of a system of values and power that has developed for millennia, passed on from person to person, from society to society, and carried into the present. An interwoven structure of viral accelerating micro-components of machinery, sticking together through all tubes and layers of sciences and unsciences. Thus the four fillers stand only as examples, extracted from this very construct, expanding from second to second, of thousands and thousands of sleeves fused into one another, whose juice continues to drip, is pressed further into intestines, and mucous membranes are transferred further via electrical currents to the throne of cobbled-together norms and laws. And the one who has entered the life, who is now filled with all this shit, should, as it appears to me the only possible step, use the transition as a collective back exit: start to be angry.
a game of symbio-parasitical metamorphosis.
the body as hole.
look behind. the syringe in your medulla.
invert yourself. turn the cannons.
the holed body.
‘the vacuum remains: you stand in midcourse, shocked by the discovery, and those of you who yearn desperately for the sweet unawareness of the cultural house of bondage cry out to return there, to the sources, but you cannot go back, your retreat is cut off, the bridges burned, so you must go forward’ Golem XIV
- exit ∀: ¬metallicity
- s/a-il(i)ent ∞-cyto
- the choked up multiplying complexity
- nucleus of maybes
- injection padrES9794
- 480V trypofiller
- the holy see drops
- encrusted doctrine machine
perforatwist fillers 2.0:
- catabolistic selfcontamination
- holest(-ed) annie(hilation)
Detonation, 2021, wheelthrown and formed, manipulated, multiple glazed and multiple fired stoneware objects
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