EMPTY MEMORY,
masterthesis. 2023–24
from the Art&Science Department of the university of applied Arts vienna.
The artistic component of the masterthesis ‘Empty Memory’ was exhibited at alte Postsparkasse (PSK) during the AAA-Festival (Angewandte). Vienna, January 25–30, 2024.
This work combines historical science with artistic methods to explore the intertwined realms of memory, history and narrative construction; highlighting the bizarre complexity of the subject of history as a science. By exploring the narrative of creating ceramic vessels as a research methodology, the author analyses the non-linear, fragmented nature of the resulting research. This personal narrative resonates throughout the work. This work also compares the science of history to the water that moulds the vessels and weaves the feelers through the concepts of memory, perspectives of historiography and the role of silence in remembrance. By sculpting the vessels, this interdisciplinary research offers a perspective on the shaping and experiencing of historiography. It presents the inclusion of artistic practice by introducing a sculptural space of memory containers in which (alien) beings come to life and wait to be filled with new memories.This work combines historical science with artistic methods to explore the intertwined realms of memory, history and narrative construction; highlighting the bizarre complexity of the subject of history as a science. By exploring the narrative of creating ceramic vessels as a research methodology, the author analyses the non-linear, fragmented nature of the resulting research. This personal narrative resonates throughout the work. This work also compares the science of history to the water that moulds the vessels and weaves the feelers through the concepts of memory, perspectives of historiography and the role of silence in remembrance. By sculpting the vessels, this interdisciplinary research offers a perspective on the shaping and experiencing of historiography. It presents the inclusion of artistic practice by introducing a sculptural space of memory containers in which (alien) beings come to life and wait to be filled with new memories.
[A] being at the SEASIDE, 2023
Videoinstallation and Fotoseries as part of the Masterthesis ‘EMTPY MEMORY’, 2024.
Ennéasyllabe, 2023
Stoneware, masonry stains, glaze200x50
Shown at:
"Elementare Gefässe - Zwischen Gebrauch und
Kontemplation" at Villa Beer Vienna, May 2023.
INTER/ROCKS, 2023
Shapes that are neither ceramic pieces nor plastic objects but mutate into organic sensual beings float timelessly in space.
These artificial rocks hanging on threads are the result of a metaphorical crystallization process in which thoughts have structured themselves into solid objects - an in-teraction of organic materials such as clay and porcelain and inorganic ones such as polyester resin and glass fibers.
In the course of this process of thought and design, a new materiality has emerged that has signified two different intensities in the working process.
There are pieces on display that have gone through different phases of manual shaping (handliches Einwirken) before crystallizing into a new form.
Working with clay takes time and periods of rest, and through the firing and subsequent hardening different crystal structures interlocked. Polyester resin and glass fibers had to emerge under (time) pressure so that crystalline structures could form.
These differences between the various materials were felt and interlinked.
Together, however, they act in space detached from their place and (time) space of origin.
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INTER/ROCKS, 2023
Shapes that are neither ceramic pieces nor plastic objects but mutate into organic sensual beings float timelessly in space.
These artificial rocks hanging on threads are the result of a metaphorical crystallization process in which thoughts have structured themselves into solid objects - an in-teraction of organic materials such as clay and porcelain and inorganic ones such as polyester resin and glass fibers.
In the course of this process of thought and design, a new materiality has emerged that has signified two different intensities in the working process.
There are pieces on display that have gone through different phases of manual shaping (handliches Einwirken) before crystallizing into a new form.
Working with clay takes time and periods of rest, and through the firing and subsequent hardening different crystal structures interlocked. Polyester resin and glass fibers had to emerge under (time) pressure so that crystalline structures could form.
These differences between the various materials were felt and interlinked.
Together, however, they act in space detached from their place and (time) space of origin.
Shapes that are neither ceramic pieces nor plastic objects but mutate into organic sensual beings float timelessly in space.
These artificial rocks hanging on threads are the result of a metaphorical crystallization process in which thoughts have structured themselves into solid objects - an in-teraction of organic materials such as clay and porcelain and inorganic ones such as polyester resin and glass fibers.
In the course of this process of thought and design, a new materiality has emerged that has signified two different intensities in the working process.
There are pieces on display that have gone through different phases of manual shaping (handliches Einwirken) before crystallizing into a new form.
Working with clay takes time and periods of rest, and through the firing and subsequent hardening different crystal structures interlocked. Polyester resin and glass fibers had to emerge under (time) pressure so that crystalline structures could form.
These differences between the various materials were felt and interlinked.
Together, however, they act in space detached from their place and (time) space of origin.
