Stratification and time of creation
An artistic and theoretical study of the medium of matter, earth, soil and clay over a period of several months has created a new and specific environment in the project of Galerie Prototyp Gallery. It is determined by the group in the process of meetings, trips, workshops, and discussions. The possibility of the penetrating influence of nature and society meets at the point of general reflection and interaction. The key idea is based on the soil, created by the influence of mutual circumstances. The material itself is gathered in a similar way. Soil, as the highest part of the Earth’s crust, is formed by the influence of external factors, and especially time. Time is the product of the transformation of its minerals and organic substances. In the third chapter of Deleuze and Guattari’s A Thousand Plateus, ‘The Geology of Morality (What does the Earth Think it Is?)’, the term stratification is not only a term for the formation of matter and creation, but also an effort to capture everything within reach. Strata or layers have their philosophical and geological interpretations. The surface is layered with several opposing phenomena, which can be called ‘double articulation’. The classical binding status of a sequence of structures is shaped as a form in the first phase and updated as a substance in the second. In geological terminology, this first articulation is sedimentation, and the second, folding. The forms reflect the methods of coding and decoding, and the substances relate to territorialization and deterritorialization. The first articulation is flexible and in order, the second organized. The binary relationships they form are close to the structures of creative group-thinking and the structure of the earth’s layers.
Systems without an organization penetrate the structures of society. They appear as entities of deities, capital, or as subjects of social, linguistic, political, economic, and scientific discourses. This decentralized structure permeates the flows of energy and matter, thoughts and actions, and attempts to connect them. Analysing the composition of all the material systems of the world is a complex process. It is almost impossible to reconstruct it at all scientific, chemical and geological levels. Soil microprocesses are formed by the exchange of energies and substances in which the soil is constantly growing, disappearing, translocating and transforming; decomposing, dissolving, reducing and moving. Where does the geological and artistic come together? The text and the image try to rearrange the ideas as content with themes shaped by the past. The tool outside the hierarchy and organization of time and space is the network. It is an imperfect tool of internal and external connection and necessarily captures only fragments of all the components present. To penetrate through thought, as when a hand is digging in clay, is a return to the immediate circumstances of flow. Touching is constant destruction and renewal. The basic principles permeating the whole process comprise of layering and excavation.
The fire burns from top to bottom
Sitting at a table, drinking tea and eating biscuits. Sometimes complex and sometimes empty topics of conversation open up. Sometimes they emerge from memory as solid strongholds, like the names of people we might meet, places we can visit, books we can read regarding the soil, or objects we create. From Jerry Mander’s In the Absence of the Sacred, Marko Pogačnik’s Sacred Geography, Stephan Martin Living a Cosmic Life: Reflections on the Cosmos, Daily Life, and Personal Experience, to the environmental magazine Sedmá generace (Seventh Generation). We live procedurally, we think about plants that can be grown or those that live dependent on touch, as with algae, about yeast maps on the internet, composting not only food but also bodies, the radicality of agricultural systems, growing food, cultivating soil systems. The possibilities of construction, its composition and layering drive away fear, such as the search for safety in the sand and dust, or the existence of functional indigenous buildings, a return to the essence of safe spots for fires that are dug in the ground and flow through air and fire. We find individualized universes on the paths of destruction of the concepts themselves. Collectivity is individualized, sequential, incomplete. Moments of synthesis of collective processes are built only in the process of production of material artifacts of culture, such as ceramic vessels, clay whistles, antique mugs, and face masks. This happens at the moment of material organization. It is as if ceramic matter finds its way to return from fragments of infinite creative potentials, only if one can unambiguously determine its connection with the technologies of the body.