In each of the works in his new exhibition at Blain|Southern Berlin, Michael Joo takes various approaches to the idea of transitory states of objects, identities and artworks. (20 January – 24 February 2018).
Joo takes a cyclical approach to unpacking these layers in That Which Just Evaporates All Around Us (2016). The work references an enormous landmass of compacted sawdust left after Sapelo’s intensive deforestation. Field recordings, taken from the island, play through a speaker encased within a frozen cube of sawdust that thaws over the span of the exhibition. Like the ‘pulse’ of the island, the natural sounds of Sapelo pump life into the speaker, becoming increasingly prominent as the man-made form of the block steadily disintegrates.
Ideas of energy transfer, creation and destruction are also explored in the Entasis series of three large, composite silver–nitrate images of mature trees that were struck by lightning and petrified. These centuries-old sentinels are witnesses to generations of human time that were transformed in an instant into petrified monuments, slowly returning to nourish the island itself. These silver nitrate ‘paintings’ are created with a hybrid of traditional processes of photographic development, exemplifying the artist’s continued interest in transformative and chemical processes.
In this sense, Joo explores the fabrication process as a liminal space between the psychological and physical realm. The material nature of the glass also allows Joo to use speed to represent the concept time in a way that can be sensed and enacted. He creates a cycle that starts with slow-moving molten cast glass that is then arrested in a cooled and solid state, to form tools which are then operated at human speed that is itself dictated by the nature of the original material.
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