ARTISTS
Katarina 尝枚蹿蝉迟谤枚尘: Loops and Lamentations
In her works, 尝枚蹿蝉迟谤枚尘 has often examined different phenomena and occurrences by separating them into their smallest components and analysing them in depth. In The Elements, 尝枚蹿蝉迟谤枚尘 approaches the tapestry The Four Elements, composed by Karin Larsson (1859-1928). The artist couple Carl and Karin Larsson have come to define the Swedish National Romanticism at the turn of the 20th century. Whilst Carl gained international recognition for his paintings, Karin Larsson has in retrospect become a highly revered textile artist and designer, who鈥檚 creations for their home Lilla Hyttn盲s in Sundborn, has made a permanent mark in Swedish design history. Growing up in Falun, near Lilla Hyttn盲s, 尝枚蹿蝉迟谤枚尘 was from an early age fascinated by a section from Carl Larsson鈥檚 painting Azalea (1906), which her family had a poster of in the kitchen in her childhood home. In the painting, the tapestry The Four Elements can be seen, still in the loom, and this part of the work created a seemingly abstract section in the otherwise figurative painting. For her, it came to constitute an abstract loophole in a figurative world.
Approaching the weave in a manner reminiscent of a musician鈥檚 remixing, the exhibition is equally an investigation of what happens when the elements of the tapestry are taken apart and rewoven in video form, as well as a reflection on 尝枚蹿蝉迟谤枚尘鈥檚 personal relationship to abstraction and music. For The Elements, she invited Marcus Price and animator M氓ns Nyman to weave with her, to remix a deconstructed weave. 尝枚蹿蝉迟谤枚尘 takes interest in codes and decoding, and in the video work and in the gallery, a Morse code loop recites Narcissus' declaration of love to his own reflection from Ovid's Metamorphoses: 鈥業 cannot escape,鈥� a theme which she has previously explored in her sculpture Lover's Lament (2023). By forging together an image which in many respects are part of a collective 鈥淪wedish鈥� identity, with the myth of Narcissus and his inability to escape his own reflection, 尝枚蹿蝉迟谤枚尘 uses the code to examine the collective self-image of our time.
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In her works, 尝枚蹿蝉迟谤枚尘 has often examined different phenomena and occurrences by separating them into their smallest components and analysing them in depth. In The Elements, 尝枚蹿蝉迟谤枚尘 approaches the tapestry The Four Elements, composed by Karin Larsson (1859-1928). The artist couple Carl and Karin Larsson have come to define the Swedish National Romanticism at the turn of the 20th century. Whilst Carl gained international recognition for his paintings, Karin Larsson has in retrospect become a highly revered textile artist and designer, who鈥檚 creations for their home Lilla Hyttn盲s in Sundborn, has made a permanent mark in Swedish design history. Growing up in Falun, near Lilla Hyttn盲s, 尝枚蹿蝉迟谤枚尘 was from an early age fascinated by a section from Carl Larsson鈥檚 painting Azalea (1906), which her family had a poster of in the kitchen in her childhood home. In the painting, the tapestry The Four Elements can be seen, still in the loom, and this part of the work created a seemingly abstract section in the otherwise figurative painting. For her, it came to constitute an abstract loophole in a figurative world.
Approaching the weave in a manner reminiscent of a musician鈥檚 remixing, the exhibition is equally an investigation of what happens when the elements of the tapestry are taken apart and rewoven in video form, as well as a reflection on 尝枚蹿蝉迟谤枚尘鈥檚 personal relationship to abstraction and music. For The Elements, she invited Marcus Price and animator M氓ns Nyman to weave with her, to remix a deconstructed weave. 尝枚蹿蝉迟谤枚尘 takes interest in codes and decoding, and in the video work and in the gallery, a Morse code loop recites Narcissus' declaration of love to his own reflection from Ovid's Metamorphoses: 鈥業 cannot escape,鈥� a theme which she has previously explored in her sculpture Lover's Lament (2023). By forging together an image which in many respects are part of a collective 鈥淪wedish鈥� identity, with the myth of Narcissus and his inability to escape his own reflection, 尝枚蹿蝉迟谤枚尘 uses the code to examine the collective self-image of our time.
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In Loops and Lamentations, Katarina 尝枚蹿蝉迟谤枚尘 creates an extensive room installation consisting of video, sculptures, a floor-covering work.
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