Y-BLOKKA, 2019, sculpture, olive oil soap. The Y-Blokka sculpture was made of a long bar of imported olive oil soap during the ongoing conflict of removing the Y-Blokken at Akersgata 44, 0180 Oslo. The protest for the plan had great public momentum but no effect in saving the city planning changes to raze the building. The idea for the soap sculpture is the relationship to the Y form and the impermanent qualities it has in both genetics and light. The bond between X and Y is dissolved in water, just as the soap will eventually become lesser and lesser when exposed to water. Yttrium and additional elemental qualities are connected to the Y-form. “The structure, the making and demolition, when brought into light with the human relationship with environment seemed evident to me, but wasn’t something people seemed willing to come to terms with. Perhaps only in the intimate moments of grief, do humans reflect on the memory of what their actions cause.” -Rachel W. Please visit this website for complete information: https://yblokka.no
C-VITRINE, 2018, citrine imported from Brazi and purchased at Blaafargeværket in Åmot, Norway, suspended in resin in a cracked, prefabricated glass box made by a local fabricator in Oslo, Norway.
DAMOCLES, 2019 – ongoing bound stone series, sculpture, with wool fibers. Exhibited suspended in air, occasionally on pedestals.
The Damocles sculptures allude to power, bonds, ties, and war. Stones have a rich history in and of themselves, being from the earth and of matter, their relationship to human beings started before being wielded as tools. Used for cultivating fields or warding off enemies, stones have also been culturally used to punish and abuse. For the complex associations with stones, they are used in this ongoing body of artworks created to look with curiosity at the nature of doubt, fear, dread, and anxiety. Tied together by soft fibers, only knots and structural tension to hold the stones together. The colour choices of thread are often made with reference to the source of the stones. The site of the stones’ origins is important to the cognitive experience of the sculptures. Though pigments have dynamic and varied cultural associations, the pigments refer to the actual conditions the stones were sourced from, for example: plowed fields bound by brown thread, porous stones from streameds bound by blue, and road or horse trail stones bound by twine such as that used in basket weaving or leash making. The bound stones are suspended in air, wielding an experience foretold in The Sword of Damocles, where the experience of welding power comes with great pressure or anxiety. The bound stones suspended, or on pedestal, reference relationships of power in individual lives, such as friendships, marriages, and business contracts. That which binds separate entities requires trust. Fibers can wear out due to varying factors, while others grow tighter or smoother over time. Vulnerable to tension or cutting, the stone entities rely on the fiber to remain in contact. Damocles (tied stones) project began during The Trélex Residency in February 2019, after years of rumination, and has continued for years after, and many more to come.
UNDER WATER PRISM, 2016, sculpture, ready-made prism inside glass box filled with tap water, mounted on photo gel paper.
Pictured as a mock-up/proposal for an actual installation or exhibition.
ICE BLOCKS, 2010-2016, sculpture and installation proposal, images or paintings of ice frost on painted white blocks, in a shape reminiscent of the smartphone devices.
FLEURRESENCE, 2015, images laid out for image sculptures.
The final result proposed are woven images connected by threads to the layers of imagery.
BIRCH LADDER, 2010, sculpture, branches from Illinois bound by silky grey ribbon, wall mounted.