Silent Stories Of Interaction Hallwylska Museet, 2019
The Hallwyl collection holds fiftyone Chinese and Korean bronze mirrors on the second floor of the museum. In the catalogue “East Asian Small Bronzes” (“Östasiatiska Småbronser”), archived as group XLIX, one can find the description of these mirrors including a picture, dimension, thickness, reliefs, symbols, color, the place they were found, time they belonged to, where they were bought and the purchasing price. Yet, when it comes to meaning, one has to look for the evidence that the objects alone hold - for these mirrors are charged with spiritual connotations, hierarchy, history, and especially, the indication of a pioneer craftsmanship.
My work questions the way history is being preserved, and which information is captured for the future. I seek to acknowledge the powerful presence of what is hidden to the human eye, or in some cases, overlooked. If one were to admit that there is any tangible information inherent to these mirrors, it would be the evidence of its maker’s skills, the techniques used to elaborate them, and the material in itself that speaks about the territory they originally belonged to.
Eight of the collection’s mirrors (E1; E2; E3; E4; E5; E6; E7; E8) are accompanied in the catalogue by a cross-section drawing: a profile. Through this project consisting of three artworks, I embarked myself in a quest for meaning, diving into the negative space of these samplings, and exploring the Immaterial through a process of making. I worked with several techniques making reference to some of those used in ancient times in order to produce bronze mirrors. A few of them were new to me and others are part of my own practice.
My material exploration first focused on three main conceptual actions that would allow me to investigate the void surrounding these mirrors: