Timo Nasseri: Nine Firmaments
Timo Nasseri鈥檚 current exhibition 鈥淣ine Firmaments鈥� he concerns himself with the topic of notation and readability. He examines the di culties of transcription and the loss of knowledge through notation and its transferal back into the three-dimensional space.
Nasseri鈥檚 drawing 鈥淣ine Firmaments鈥�, which lends the show its title, as well as 鈥淥rbis Tertius鈥� make use of illustrative elements that appear familiar to the observer. Graphic, geometric symbols, digits and letters from the fields of mathematics, cartography and astronomy are placed in a complex, yet purely intuitive, indecipherable correlation. The words, numbers and forms bear associative significance for the observer, seem to be references, but no clear sense can be made of them, despite the fact that these notations originally serve to designate and preserve information and knowledge and make them accessible. Nasseri questions the vocabulary of characters that visually has become so commonplace to us by creating his own fantastical worlds of characters, captivating in their minuteness and precision, but also puzzling to the observer. They echo Nasseri鈥檚 drawing block 鈥淥 Time Thy Pyramids鈥�.
Intellectually they reference Jorge Luis Borges鈥� literary work 鈥淭he Library of Babel鈥� (1941), in which every possible combination of letters and words is preserved in an infinite library and thus all knowledge is represented. As it contains every possible combination, it seems cacophonous and indecipherable. However, it may be that just one deciphering code is missing for a possible translation, similarly to the keys needed to understand mathematical formulas.
The sculptural works presented in the exhibition stem from these drawings in the 鈥淥 Time ThyPyramids鈥� series. They continue the ideas inherent in them, attempting to recreate the legibility in the three-dimensional of that which is illegible or has been lost in the two-dimensional space, such as the volumes of bodies. As such, they are derivatives, back-translations and interpretations of a notation in the three-dimensional realm.
The resulting space-consuming installation consists of several individual sculptures, which Timo Nasseri links into a related, modular reference system: clear, geometric, abstract shapes in materials such as brass, wood, black, powder-coated steel or thread.
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Timo Nasseri鈥檚 current exhibition 鈥淣ine Firmaments鈥� he concerns himself with the topic of notation and readability. He examines the di culties of transcription and the loss of knowledge through notation and its transferal back into the three-dimensional space.
Nasseri鈥檚 drawing 鈥淣ine Firmaments鈥�, which lends the show its title, as well as 鈥淥rbis Tertius鈥� make use of illustrative elements that appear familiar to the observer. Graphic, geometric symbols, digits and letters from the fields of mathematics, cartography and astronomy are placed in a complex, yet purely intuitive, indecipherable correlation. The words, numbers and forms bear associative significance for the observer, seem to be references, but no clear sense can be made of them, despite the fact that these notations originally serve to designate and preserve information and knowledge and make them accessible. Nasseri questions the vocabulary of characters that visually has become so commonplace to us by creating his own fantastical worlds of characters, captivating in their minuteness and precision, but also puzzling to the observer. They echo Nasseri鈥檚 drawing block 鈥淥 Time Thy Pyramids鈥�.
Intellectually they reference Jorge Luis Borges鈥� literary work 鈥淭he Library of Babel鈥� (1941), in which every possible combination of letters and words is preserved in an infinite library and thus all knowledge is represented. As it contains every possible combination, it seems cacophonous and indecipherable. However, it may be that just one deciphering code is missing for a possible translation, similarly to the keys needed to understand mathematical formulas.
The sculptural works presented in the exhibition stem from these drawings in the 鈥淥 Time ThyPyramids鈥� series. They continue the ideas inherent in them, attempting to recreate the legibility in the three-dimensional of that which is illegible or has been lost in the two-dimensional space, such as the volumes of bodies. As such, they are derivatives, back-translations and interpretations of a notation in the three-dimensional realm.
The resulting space-consuming installation consists of several individual sculptures, which Timo Nasseri links into a related, modular reference system: clear, geometric, abstract shapes in materials such as brass, wood, black, powder-coated steel or thread.
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