on the shores //
group exhibition and works created in Itoshima, Fukuoka Prefecture, Japanduring artist residency at Studio Kura, 2024
by collecting, gathering, discovering, digging, and photographing remnants of what the fishing industry leaves behind at sea on the shores of Itoshima, the series of pieces explores what our waste stream can look like
the work is informed by the Cabinet of Curiosities (Wunderkammer), originated during the European Renaissance. Scholars and noblemen sought to rationalise and understand the world, driven by the belief that all things are related to each other, by collecting pieces from the five categories ‘naturalia, artificialia, exotica, scientifica, mirabilia’, which provided the title of the series. they often lacked labels and the lines between ‘human and animal, natural and artificial’ were often blurred.
the photography series accompanied, visualises the setting and state in which these objects were found. they show the beauty in decay and loss of value over time as well as emphasize the colors that there are to be found in our waste streams.
the intention is to give a new round of life to the objects, materials, and elements through manipulation, textile techniques and photography. finding curiosity in discarded material whilst bringing attention to our waste streams. potentially rethinking or contemplating how and what we dispose of elements.
‘naturalia, artificialia, exotica, scientifica, mirabilia’ (9 sculptures)
/between 60-180cm long & 1-20cm wide/
stone, ceramic, glaze, yarn, fishing net, rope, seashells, fabric
‘hunting’ (9 photographs)
each /27 x 40cm/
the work is informed by the Cabinet of Curiosities (Wunderkammer), originated during the European Renaissance. Scholars and noblemen sought to rationalise and understand the world, driven by the belief that all things are related to each other, by collecting pieces from the five categories ‘naturalia, artificialia, exotica, scientifica, mirabilia’, which provided the title of the series. they often lacked labels and the lines between ‘human and animal, natural and artificial’ were often blurred.
the photography series accompanied, visualises the setting and state in which these objects were found. they show the beauty in decay and loss of value over time as well as emphasize the colors that there are to be found in our waste streams.
the intention is to give a new round of life to the objects, materials, and elements through manipulation, textile techniques and photography. finding curiosity in discarded material whilst bringing attention to our waste streams. potentially rethinking or contemplating how and what we dispose of elements.
‘naturalia, artificialia, exotica, scientifica, mirabilia’ (9 sculptures)
/between 60-180cm long & 1-20cm wide/
stone, ceramic, glaze, yarn, fishing net, rope, seashells, fabric
‘hunting’ (9 photographs)
each /27 x 40cm/
group exhibition created in Itoshima, Fukuoka Prefecture, Japan. during residency at Studio Kura.
by collecting, gathering, discovering, digging, and photographing remnants of what the fishing industry leaves behind at sea on the shores of Itoshima, the series of pieces explores what our waste stream can look like
the work is informed by the Cabinet of Curiosities (Wunderkammer), originated during the European Renaissance. Scholars and noblemen sought to rationalise and understand the world, driven by the belief that all things are related to each other, by collecting pieces from the five categories ‘naturalia, artificialia, exotica, scientifica, mirabilia’, which provided the title of the series. they often lacked labels and the lines between ‘human and animal, natural and artificial’ were often blurred. the photography series accompanied, visualises the setting and state in which these objects were found. they show the beauty in decay and loss of value over time as well as emphasize the colors that there are to be found in our waste streams.
the intention is to give a new round of life to the objects, materials, and elements through manipulation, textile techniques and photography. finding curiosity in discarded material whilst bringing attention to our waste streams. potentially rethinking or contemplating how and what we dispose of elements.
