In Being, breaking and unmaking Silja Axelsen investigates the process of decay that exists in the interaction between humans and nature.
In Kronborg’s gallery space, Axelsen will build a large sculptural form composed of a number of casted small spherical objects made from raw unfired clay. With the geometrical figure as a point of departure, she plays with the forms appearance as a universal and strong form, versus the fragile materiality of the unfired clay. Each sphere has been polished to give it a white surface, fitting perfectly into the palm of the hand. Thus, the spheres appeal to the body and touch, while the raw unfired material is extremely fragile to touch and can break easily. In Being, breaking and unmaking, the decomposition process has a central place. In the open gallery, the form will live a life on it own, based on external influences such as weather conditions and human interference. In the encounter with rain, wind and touch, the spheres will dissolve and then disappear completely. This gives the sculptural form an organic life course that will influence the form’s expression during the exhibition period. The on-going change in expression means that the meeting between viewers and form is also in constant motion, where each encounter gives a new version of the form and impression on the viewer.