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Time Related

Exhibition  /  13 Aug 2015  -  29 Aug 2015
Published: 13.08.2015
Beyond Fashion
Management:
Karin De Buysere, René Darmont
.

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Intro
Three Master in Art graduated students by the prestigious schools: MAD-Faculty Hasselt, Royal Academy of Fine Arts Antwerp and Jewellery Design, Sint Lucas School of Art Antwerp show their graduation work together.
 

Artist list

Juan Harnie, Maria Kadarpik, Sangji Yun
Masterwork by Juan Harnie
Scar(r)ed

In this project I chose to work with unusual materials in an unusual atmosphere. These materials could even evoke phobias. Searching for aesthetically interesting aspects of weird or frightening materials is something that has been fascinating me for a long time. I looked into medical materials and procedures and even more so the possible negative consequences thereof. What if we looked at a scar or disfigurement as something attractive that we would wear proudly instead of trying to hide it? These pieces are made of latex, so they will decay after a period of time. This references to the withering of the human body. When someone has had an artificial addition to his body and that person is dug up years after his death, parts of these artificial remains will be found. The body itself will have decayed and so will my jewellery. The latex will disintegrate, but the metal will remain.

Masterwork by Maria Kadarpik
The goddess - me?

This work is a result from a study of my own emotional states during my time as a MA student. I used bread, an essential and universal ingredient that nurtures us and keeps all of us alive, as a base material to form objects, which captured my experiences of ‘being in the world’. All women have a goddess in them, but I see a universal struggle regarding their emotional and physical vulnerability. I dealt with difficulties, contradictions, two sided feelings, irritations, growth and flowering. There is a pressure to fulfil expectations – career, relationships, well-working family, perfect looks and independence – all at once. It feels that values like being analytical and competitive are dominant, overshadowing values like empathy, patience, intuition and introspection. Everything I made, I kneaded and formed with my own hands from the dough. I used a slow method of working, starting everything with a touch that patiently started to grow and tell my story. The objects have a relationship to the body – they can be touched, owned and worn. They are there to support the inner strength and beauty of any woman. This work is the exploration of my inner goddess.

Masterwork by Sangji Yun Shi-gan
The passage of time

Time is expressed in two different ways in Korean: Shi-gak and Shi-gan. Shi-gak consists of two meanings, the moment (Shi) and engraving (Gak). Therefore, Shi-gak translates as an engraving made with the passage of time. Shi-gan, on the other hand, consists of Shi (moment) and Gan (inbetween). Shi-gan therefore represents space between moments, and the sense of space is embedded within the word. Time flows. And time is intangible. It is therefore very difficult to shape physically. However, as time passes, we can often find traces of time. We can find traces of absence. I am interested in the past as it appears in the present. Looking at photo albums from the past makes me remember what existed. But the photos exist in the present. They are the traces of an absence. Therefore, the traces can also be tangible. And my grandfather’s old worn-out hammer can be shown as a representation of engraving made over a lapse of time like the meaning of Shi-gak. When I was a child, I was deeply impressed by my grandfather’s every working moment. It is very difficult to shape the space between moments like the meaning of Shi-gan. Shi-gan is more closely connected with a person who resides in the space between moments than Shi-gak. Every single moment of my grandfather’s effort turned into a heritage that has been passed onto me. I want to express the beauty of the Korean word Shi-gan in my graduation project. This will enable us to confront the passage of time, which is easy to miss. I chose paper as my main material and inspiration. I spent my childhood in a traditional house built by my grandfather. Papers were pasted and layered on doors and windows in the house. The elaborate paper doors and windows have become more beautiful as time went by. I laid a thin sheet of paper upon another repeatedly and steadily. I tried to enjoy the passage of time. The repeated actions show the workmanship which I got from my grandparents. And the paper objects were shaped to be placed in the most emotional and sensitive places – hands, shoulder, and breast – to be the expressed heritage that has been passed onto me. People who touch my pieces immediately know my time and my craftsmanship. As the shapes made of paper decrease, this represents natural extinction by death, worn-out by contact. The pieces will be worn out after a long time, but the vanished fragments will be transformed into a remembrance. My project is about traces left in our consciousness.
Juan Harnie. Object: Scare tissue, 2015. Stainless steel, latex, gauze. 26 x 17 x 7.5 cm. Juan Harnie
Object: Scare tissue, 2015
Stainless steel, latex, gauze
26 x 17 x 7.5 cm
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Maria Kadarpik. Piece: The Goddess - Me? II, 2015. Reconstructed bread, textile. 11 x 12 cm. Object / Neckpiece. Maria Kadarpik
Piece: The Goddess - Me? II, 2015
Reconstructed bread, textile
11 x 12 cm
Object / Neckpiece
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Sangji Yun. Object: Shi-gan, the passage of time, 2015. Paper. 6.3 x 12 x 4 cm. Sangji Yun
Object: Shi-gan, the passage of time, 2015
Paper
6.3 x 12 x 4 cm
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