S贸ley 搁补驳苍补谤蝉诲贸迟迟颈谤: She Likes to Collect Rocks
Formation Gallery is pleased to present She Likes to Collect Rocks 鈥� the second solo exhibition by Danish-Icelandic artist S贸ley 搁补驳苍补谤蝉诲贸迟迟颈谤 at the gallery.
Through a tactile and reflective practice, 搁补驳苍补谤蝉诲贸迟迟颈谤 explores the relationship between humans and their immediate surroundings 鈥� including natural materials, consumer objects, and marine debris, as well as the affective dimension of repetition inherent in the act of collecting.
At the heart of the exhibition is the concept of Endlessness 鈥� understood as both an aesthetic and existential state, simultaneously structural and temporal. Repetition and intricate patterns emerge as epistemological tools for experiencing and engaging with the world. Through meticulous processes 鈥� thousands of brushstrokes, serial impressions, and material manipulations 鈥� 搁补驳苍补谤蝉诲贸迟迟颈谤 insists on a slowness that both challenges and resists today鈥檚 accelerated image culture.
A central motif in the exhibition is the transformation of ocean plastic into sculptural objects. The material, collected along the shores of Thy by the environmental organization Strandet, consists of fragments of fish boxes 鈥� findings already charged with ambivalent meanings. In 搁补驳苍补谤蝉诲贸迟迟颈谤鈥檚 practice, these objects appear as paradoxical hyperobjects: captivating, strangely familiar, and at the same time by-products of our desire and global overconsumption. (Perhaps something other than simply calling them beautiful?)
搁补驳苍补谤蝉诲贸迟迟颈谤鈥檚 practice breaks with ornamental aesthetics for its own sake. Her works reconsider the inherent patterns of nature and the value we attribute to acts such as collecting. Cockle shells, bird pairs, and fragments of amber appear as microcosmic reflections of a desire for coexistence 鈥� across species, time, and materiality.
Recommended for you
Formation Gallery is pleased to present She Likes to Collect Rocks 鈥� the second solo exhibition by Danish-Icelandic artist S贸ley 搁补驳苍补谤蝉诲贸迟迟颈谤 at the gallery.
Through a tactile and reflective practice, 搁补驳苍补谤蝉诲贸迟迟颈谤 explores the relationship between humans and their immediate surroundings 鈥� including natural materials, consumer objects, and marine debris, as well as the affective dimension of repetition inherent in the act of collecting.
At the heart of the exhibition is the concept of Endlessness 鈥� understood as both an aesthetic and existential state, simultaneously structural and temporal. Repetition and intricate patterns emerge as epistemological tools for experiencing and engaging with the world. Through meticulous processes 鈥� thousands of brushstrokes, serial impressions, and material manipulations 鈥� 搁补驳苍补谤蝉诲贸迟迟颈谤 insists on a slowness that both challenges and resists today鈥檚 accelerated image culture.
A central motif in the exhibition is the transformation of ocean plastic into sculptural objects. The material, collected along the shores of Thy by the environmental organization Strandet, consists of fragments of fish boxes 鈥� findings already charged with ambivalent meanings. In 搁补驳苍补谤蝉诲贸迟迟颈谤鈥檚 practice, these objects appear as paradoxical hyperobjects: captivating, strangely familiar, and at the same time by-products of our desire and global overconsumption. (Perhaps something other than simply calling them beautiful?)
搁补驳苍补谤蝉诲贸迟迟颈谤鈥檚 practice breaks with ornamental aesthetics for its own sake. Her works reconsider the inherent patterns of nature and the value we attribute to acts such as collecting. Cockle shells, bird pairs, and fragments of amber appear as microcosmic reflections of a desire for coexistence 鈥� across species, time, and materiality.
Artists on show
What's on nearby
