Life has bloomed from Earth's pool of soil for centuries. The first tools, the first vessels, the first graves were all made to bring us closer to the ground beneath us.
Our technology advancements distance us from the source, our ancient contract with the planet is being renegotiated. As we transform our lives with metal companions and microchips, what will our relationship to soil become? Will our bodies still be buried in the ground in 100 years? Will our hands still crave dirt?
Carl Jung described the collective unconscious as a reservoir of images and forms shared subconsciously across all human experience. It is older than language and older than culture. The works here do not belong to any one moment in time. They draw on the ancient and the synthetic equally, not as opposites, but as two expressions of a point in time that we haven’t reached yet.
This, creates the feeling that Jung called numinous: familiar enough to recognize, alien enough to unsettle. In this exhibit the domestic has grown hostile. Nature has been cast in metal. The ground beneath the familiar is no longer solid.
Its a threshold in time where primal material and manufactured surface become one and where the building blocks of ancient civilization and modern anxiety co-exist. Where earth is chrome. Where a chair fights back. Where a flower outlives its own biology.
Life has bloomed from Earth's pool of soil for centuries. The first tools, the first vessels, the first graves were all made to bring us closer to the ground beneath us.
Our technology advancements distance us from the source, our ancient contract with the planet is being renegotiated. As we transform our lives with metal companions and microchips, what will our relationship to soil become? Will our bodies still be buried in the ground in 100 years? Will our hands still crave dirt?
Carl Jung described the collective unconscious as a reservoir of images and forms shared subconsciously across all human experience. It is older than language and older than culture. The works here do not belong to any one moment in time. They draw on the ancient and the synthetic equally, not as opposites, but as two expressions of a point in time that we haven’t reached yet.
This, creates the feeling that Jung called numinous: familiar enough to recognize, alien enough to unsettle. In this exhibit the domestic has grown hostile. Nature has been cast in metal. The ground beneath the familiar is no longer solid.
Its a threshold in time where primal material and manufactured surface become one and where the building blocks of ancient civilization and modern anxiety co-exist. Where earth is chrome. Where a chair fights back. Where a flower outlives its own biology.
For inquiries regarding artwork review or acquisition, please contact: galleriorn@gmail.com
Christine Lykkeh & Homunculi
Lykkehs’ artistic practice draws heavily from her rural childhood in Fyn, shaped by old troll myths, dense insect life, fields of grain and rapeseed, and moss-green wetlands. These landscapes and stories form the foundation of her visual language, that comes to life in the form of ceramics, paintings and zines through a mixed media approach. She is interested in how folklore, myths and inherited narratives continue to live on, mutate and resurface, offering symbolic tools to make sense of the present and to imagine what lies ahead.
Homunculi is a self taught ceramicist working primarily with large scale sculpture and functional objects, with a special focus on ceramic furniture. Her practice centers around the exteriorization of self through forms inspired by medieval alchemy, a tradition that sought to animate matter with fragments of the creator’s essence. She is often combining this concept with functional everyday objects, resulting in something half familiar and half enigmatic. These objects are often made with recycled clay and found materials.
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