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“Reality and dreams are all mixed up, like sea water and river water flowing together,“ is a quote by the main character Kafka Tamura from „Kafka on the Shore,“ a book by Haruki Murakami. „Cuts in a Colorful Gloom“ invites viewers to explore the interplay between memory, perception, and the physical world. This installation transforms the gallery space into a labyrinthine dreamscape, prompting introspection and challenging us to question how we construct our understanding of the world.

In essence, the process of seeing the world around us begins with capturing light through the eyes and translating that light into signals for the brain, which are then analyzed and interpreted. Through this process, there is a deep link between the physical and mental. Memory becomes a bridge that connects timelines. In his book, Man and His Symbols, psychoanalyst Carl Jung quotes, “Our conscious impressions, in fact, quickly assume an element of unconscious meaning that is psychically significant for us, though we are not consciously aware of the existence of this subliminal meaning or of the way in which it both extends and confuses the conventional meaning.” The collaboration between objects, space, and bodies contributes to the exploration of the subliminal.

Utilizing familiar materials such as polyvinyl acetate glue, pigment, aluminum wire, clay, tissue paper, polyethylene sheets, and polyethylene terephthalate, the artist constructs a dynamic environment. Layers of plastic flow from the windows, creating a hazy barrier between the interior and exterior. Sculptures scattered throughout the space evoke fragmented memories, while the orange-hued installations react to the weather, reflecting the ever-shifting nature of time and perception.

The aesthetic reference processes come from design, event decoration, and the works of American artist Sam Gilliam, who is well known for his drapery of paintings. The use of polyethylene sheets to map out the artist’s journeys echoes the exploration of urban spaces in contemporary art.

With a fascination with the interplay of art and theater, the experience of space becomes phenomenological with a fusion of pre-production, production, and post- production, a concept influenced by Robert Morris on the importance of the art-making process in addition to the end product. The artist’s works explore paintings as forms that extend from the flat plane of the wall into three-dimensional space.

Time as a preeminent phenomenon exists in the objects used in correspondence with their materiality and ubiquity. Transforming reproduced consumable goods into art that is valuable is an approach inspired by American artist Sarah Sze, who uses utilitarian materials, images, and objects to create artworks that take forms such as sculpture,