Lands 2024,
Lagmannsholmen, Kristiansand.
Gunnhilde Høyer & Jonas Høgli Major
"Lands" (2024) juxtaposes two philosophical perspectives on the relationship between nature and art. In English it is the plural form -, and in Norwegian the possessive form of the word land. Denominating the opposite of sea, the word land stems from proto-germanic - landą meaning: "untilled land", a land not prepared for crops.
The first land features a fence shielding a patch of vernacular vegetation, exploring the idea of natural purity and the notion that beauty exists in nature that is untouched by humans. A pragmatic land that is beautiful by simply excluding people; protecting an occurrence of nature.
The second land features a stony terrain adornedwith porcelain, exploring how man-made objects can enhance and celebrate the arousing- and life-affirming aspects of beauty. The shell-like appearance of the porcelain clung to the rocks embody both associative beauty, looking like shells, but also in the form of art historic references to Botticelli’s “Birth of Venus” and Duchamp's “Fountain”.
The installation as a whole underscores the crucial role of the human observer, whose perception is essential in decoding the aesthetic and theoretical content of any landscape, being it unspoiled or augmented.
“Lands” is a visual work and meant to be of an associative nature and we urge any observer to explore and make their own reflections on the work.
Materials: Galvanised steel, porcelain, rubber, deposit of blasted rocks, vernacular ecology, sea