‘Wall crack analogue scan’ 2024
drawing / 29.7 cm x 21 cm / pencil on paper
‘16.8 kg is the global daily demand of sand per person on June 5th, 2024’ 2024
installation / various dimensions / river sand, textile, wood cardboard and flocked paper
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‘Conversation table on sand’ 2022 - a collaboration with Irma Földényi
installation / 244 cm x 232 cm x 37 cm / plywood, sand, concrete, basalt, mica, glass, plastic, paper, balsa, wood cardboard, cushions
This presentation gives an insight into a research process on the material sand. Creating an environment on how we work, this installation is made up of different components: material samples, experiments and objects.
Sand is a granular material composed of finely divided rock and mineral particles consisting of loose grains between 2 and 0.0625 millimeters. It is a seemingly abundant resource which is mined worldwide and processed into structural materials such as concrete, glass and silicones. After water, sand is the most utilized natural resource on earth. It is present in every structure, road, window, and screen we use daily.
As abundant as it seems, as scarce it is predicted to become due to overconsumption by industrial use. The ecological and economic consequences of overmining result in illegal activities and local geographic conflicts. As researchers in the artistic field, we chose to work with sand - for its apparent finitude and therefore preciousness - and develop processes and objects that zoom into these qualities.
What if sand is in fact an extremely valuable material? How would a jeweller then work with it?
Research project ‘Jewellery Matter Time - Hard Data, Soft Stories’ unveils contemporary stories about mined materials and how they contribute to jewellery as a practice. The movement of materials has a variety of ecological effects, many of which are concealed in the shadows behind shiny objects. If jewellery can tell stories, which stories could they tell about their origin in the age of the Anthropocene?
‘Grey Letter’ 2022
Installation / 32 cm x 24 cm x 3 cm and 29,7 cm x 21 cm x 1 cm / silver sand, plastic drawer, synthetic satin, plastic
“Microplastics, as the name implies, are tiny plastic particles. Officially, they are defined as plastics less than five millimeters (0.2 inches) in diameter—smaller in diameter than the standard pearl used in jewelry. There are two categories of microplastics: primary and secondary.” - http://www.nationalgeographic.org/en- cyclopedia/microplastics
Because of the loss of functionality and original shape of the plastic object, microplastics tend to look ambigious, the sand of the beach wears them down and shapes them into something that starts to look organic. However, their bright unnatural colors give them the allure of a rare or precious object rather then something plain or ordinary.
When searching for ways of displaying them I filled a drawer with sand and neatly orginised them on top. Hoping it would work as a scale model for their (un)natural environment. When I picked them off one by one, my fingers left imprints that remind me of writing.
A white rectangular pillow made out of synthetic satin, the size of an A4 paper sheet serves as a reference to this writing and to the softness and containment of the inside of a jewellery box.
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‘9 metres square – One ounce of pure gold can be hammered into a single sheet nine metres square.’ 2021
installation / variable dimensions / heat shrink sleeve, aluminium, gold pan, print on paper
‘Blue Space’ 2020 - exhibition view at Si en La
wall object / 121 cm x 34,7 cm x 3 cm / moving blanket, wood cardboard, balsa
‘materials of a house’ 2018
installation / 153 cm x 98 cm x 7 cm / roofing felt, duvet, thread, washing line and object / 47 cm x 19 cm x 11 cm / rusted iron
‘studies on shelter’ 2017
a series of drawings / 29,7 cm x 21 cm / white ink on millimeter tracing paper
