Date: 2021
Author: Martim Brion
From the Latin “extended thing”, res extensa is a philosophical concept introduced by Descartes and further developed by Leibniz.
In this case, it refers to the polarity of one’s work and its extension or expansion into other fields. The form is mutable and malleable, leading to different points of finality. One can expand one’s work in many ways, in a straight line, evolving from one point to the next and so forth, with small additions in between. One can jump from one place to the next and parachute into a completely different reality of expression, or one can merge the two approaches and parachute in but with a connecting rope – this allows for a stronger conversation between the different approaches.
This exhibition is an extension of the practised form; the photograph is distended and prolonged into the exhibition space. It loses its traditional wall position and descends into a more physical presence; it enters the sculptural space and interacts more directly with the architecture containing it. The sculptures, Perspectives Series, on the other hand, remain in their previous contained-cube form, but some of them have now had depressions inserted into them such that a third element interacts now with the shape, colour, and light. They stand opposite a series of photographs, Form Macabre Series, which serve as another focal point and point towards the figurative, while remaining abstract in essence.
An extension of the practised form, but also a meshing up of the traditional areas of art: sculpture, painting, and photography, mostly, with a dash of architecture. Instead of silos of expression, a conversation with multiple moving vectors.
Martim Brion 