Images
Marie Lund, Raising the Vessel, 2015, Copper, 80 × 160 × 21.5 cm
Marie Lund, The Very White Marbles, 2015, Carved found sculpture, wood, 60 × 31 × 35 cm
Marie Lund, Raising the Vessel, 2015, Copper, 80 × 160 × 42 cm
Marie Lund, Raising the Vessel, 2015, Copper, 80 × 160 × 20 cm
Marie Lund, The Very White Marbles, 2015, Carved found sculpture, wood, 41 × 16 × 11 cm
Marie Lund, The Very White Marbles, 2015, Carved found sculpture, wood, 66 × 21 × 24 cm
Marie Lund, Raising the Vessel, 2015, Copper, 80 × 160 × 42 cm
Marie Lund, Raising the Vessel, 2015, Copper, 80 × 160 × 20 cm
Marie Lund, The Very White Marbles, 2015, Carved found sculpture, wood, 41 × 16 × 11 cm
Marie Lund, The Very White Marbles, 2015, Carved found sculpture, wood, 66 × 21 × 24 cm
Marie Lund, Installation view, 2015
Press Release
Tell me what you see first.
The surface. You meet the outermost layer first through reflection and resonance.
Can you leave anything there?
No, the surface repels. Drops just roll off.
What then?
Then rows of blows. Bang. Bang. Bang.
The material turns around its surface.
From convex to concave.
So it doesn’t repel anymore?
No, now it holds.
The hammer is closest to the arm.
And the more you hammer the bigger your arm gets.
Roughing out.
Close-up. Without stepping back.
The hammer removes the surface and frees the object from its place in time.
What’s underneath the surface?
A new surface.
Layers of surfaces. Densely packed.
The hammer creates volume from the plane.
From spanning to swallowing.
To raise the vessel you start by sinking.
So it moves the worked towards the un-worked?
Yes, and the un-worked towards the worked.
How far will the material allow you to bend its integrity?
How far?
Will the hole always remind you of the digging?