I will leave behind a lifetime of terrors,
as you will when time exhaust you.

23.10.2024
Material: Candle wax, Pewter, polyester rope
Size: ca. 60 cm


Ominent despair or an unevitable demise, inherented and to be handed down history for whom it may consern. The pendants resemble both arms of a clock, as well as being shaped like an intersection of a snails shell, as a generic ornamentation.      




Greenfrog -
thoughts upon thriving



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Godspeed-
Arch

23.10.2024
      Material: Candle wax, Pewter, polyester rope
Size: ca. 60 cm


Ominent despair or an unevitable demise, inherented and to be handed down history for whom it may consern. The pendants resemble both arms of a clock, as well as being shaped like an intersection of a snails shell, as a generic ornamentation.      


 While the pandemic emptied urban landscapes of people, stories of animals and natur taking over rose in social media. Animals in danger of extinction peaked in numbers as human activity slowed down in fear of unknown concequences. 

Stories emerged and told narratives of the world healing, and the absence of city smog and pollution of tourists and fossil fueled emissions, the sky turned blue and the water got clear again.  It was almost as if we could turn back time by, slowing down, pacing at minimum. 

One of the famous stories were about the Venetian dolphins and swans swimming in the clear water. “ https://www.euronews.com/my-europe/2020/03/20/debunked-video-does-not-show-dolphins-in-venice-s-canals-thecube
 


We Ought To Be Time Machines


“We ought to be time machines” (2017), 6:30 min, loop                   Unmute for audio                  





In 2016 I wrote a text called we ought to be time machines about sleep, time management and the feeling of not getting things done.  The text lead to the exhibition and video work by the same name, presented at Studio 17, Stavanger (2017). 

The visuals in the video is a blown out screen recording of a sleepless night’s scrolling session.  The abstract shapes seems to be alive, as microbal organisems, doing whatever microbal organisms do: eat, reproduce. 

The audio is excerpts of the original text about keyboard-researching a treatment of sleep as an pathological illness, read though a dictaphone with a tolerance filter, cutting out sections not recognised by the equipment, leading to a nonsensical or abstract narrative.

“More tubes leading nowhere” (2017) 
Materials: Vinyl tubes, cotton fabric, nylon fabric, bee’s wax










Birdbath // Heavy Broosh

  Material: Pewter cast, silicone bulb
Size: ca. 15 cm



Brooches, timeless symbols of self-expression, have adorned individuals throughout history. From showcasing wealth to serving as practical fasteners for cloaks, brooches have also been powerful tools for conveying resistance, class, community affiliation, and even occult secrets.

The "Birdbath" brooch draws inspiration from the poignant Victorian mourning brooches, which honored the departed. Its bulbous pump, reminiscent of a squirt flower, references the exaggerated emotions often associated with clowning. This design explores the delicate balance between sincerity and the absurd, where heartfelt expressions can veer into the realm of the pathetic.

The piece was last shown at Rogaland Kunstsenter at the exhibition “Dette er ikke en medlemsutstilling”.(2024)  



         
    

En hund er kort
En bil er lang



TC1 woven tapestry: Cotton, wool (2018)
Iron  rods
Size: 190 cm






Studio Slutten -

Intrusions On Open Geometries



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©jone Tou
2024