I am in Iceland again working for one month in a large studio at the edge of a fjord in an isolated town.
Walking every day, breathing deeply, taking in my surroundings, and marveling at the continuously changing sky and water and shore I take photographs and gather seaweed because it is in abundance and I go to the studio.
I shape the seaweed, predominantly kelp, and hang it to dry; make drawings and paintings of it or print it. I am also making paper with it.
I hang these things on the wall behind the table where I work and I look at it, consider it, and watch how it changes, or how I make changes with this material.
The seaweed texture seems to be an imprint of the ripples of the water and be the texture of the clouds. When dried, the once wet material forms into unusual shapes of translucent colors. It is amazing.
“In my practice, I depart from my own experience within care work, and my work results in films, photography, video installations, or interactive performances. The question of care as a commodity is at the center of my practice. Born in Sweden, 1988, I’m originally a filmmaker with a Bachelor’s degree in Photography, Valand Academy, Gothenburg. For this trip, I got a travel grant from the Swedish Arts Grants Committee to come here and work with my project ‘Caring with Force’.
During my two months stay at NES residency I’m researching Icelandic Psychiatric Care and their alternative to restraint-belts within forced care for my current project. While staying here I also collect stones, take walks in the wind, and every day I take a picture of the everchanging ocean.”
Sarah McCormick’s research considers the role of colonial agendas at play in the narrative of our global, ecological crisis. Through methods of social practice, digital transmission, and sculpture, she looks for possible solutions to an objectifying model of approaching ecology—a patriarchal holdover in phenomenological thought.
Her work wrestles with the complex and paternalistic relationship between humans and nonhumans, specifically within the context of land preservation. She examines the act of protection when applied to an entity that may have never given consent and the battles waged over land’s extractive potential.
“The constant connection with the elements at their purest forms. The fluent feeling you get meanwhile seeing water drop and stone melt.
When art and craftsmanship are eternal allies united in the local car workshop, where Óli, a former fisherman, shared with me his knowledge of welding and gave birth to my twisted aluminum shapes in perfection.”
In her work, Lena Marie Emrich focuses on the marginal and the social – both topics that are key elements in her artistic practice. Car tuning races, abandoned airports, lapsed graffiti, meteorological phenomena – all these are cultural references that nourish her multidisciplinary practice. Emrich interweaves performance, documentation and sculpture and sheds light on the characteristics of these unique communities. She mixes scientific research findings with a kind of poetic form language, as well as examining objects and phenomena for their aesthetic and social relevance. Her works tell of the encounter between supposedly rigid everyday objects and human longings, and conserve them in a simple formal language. In 2020 she won the Toy Award presented by the Berlin Masters Foundation. For 2021/2022 she is awarded the Art Prize of the Kunstverein Hannover.