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The project is inspired by the scarred aerial landscapes only visible in their totally from a bird perspective as geometric images. The project tries to relate to these unnatural surroundings through a suprematic approach as a way to interrelate with the earth and sky, the vertical and horizontal through geometric geological crystallizations in search for an earthbound aesthetics of the soil.
The work Oil Sands Geology/Terrestrial Geometry focuses on our relation to the world’s natural resources. How the extractive industry affects the landscape in unsustainable ways. The extraction of crude oil in the oilsands mining and refining industry has led to disastrous destructions destroying vast areas of forrest, peeling off the topsoil, poisoning the drinking water, emitting a great amount of CO2. But we can no longer build extractive monument — as Bruno Latour and Isabelle Stengers points out: “…we will have to go on living in ruins, because there is no other possibility. Gaia is here to stay. We will not be able to continue to build extractive monuments to ourselves and ignore Gaia.” We have to build with the ruins; rebuild, reuse, adapt.
The works Atomic Landscape/Terrestrial Geometry I & II portray uranium disposal cells: radioactive tombs of America’s various nuclear programs. Each disposal cell covers many acres and as much as half a square mile. They resemble terrestrial umbrellas, ancient pyramids or relics from a geometrical mound-building culture.They represent the legacy of the most advanced technology of a global culture: the creation of the atomic bomb. Most are repositories for the remains of uranium mills bulldozed into engineered isolation mounds designed to limit contact with their surroundings for hundreds of years. In arid environments, the outer layer is a coating of coarse riprap rock, a dead space where nothing grows, where no soil forms, and no roots take hold. These are the most negative of spaces, non places, meant to stay inert and isolated for as much of forever as possible.
Such containers possess due to their functionality, enormous scale and distinctive form like the ancient pyramids a supernatural character, which the project tries to make more earthbound and relatable.
The second version of Atomic Landscape//Terrestrial Geometry I is made in wood cut consisting of 16 smaller plates, which make the structure of the work flexible and possible to modulate and unfold in new ways forming new imprints of the landscape.
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