Locked in Looking Out – Anna Hor
‘Whatever we remember of the shared past and everything we want to get back from it is determined primarily by our present values and aims, not by the past…’ As the world is on hold, this quote from Gizela Hozarth’s essay on ‘Faces of nostalgia. Restorative and reflective nostalgia in the fine arts.’ seems to resonate a lot, describing our current lockdown circumstances as we can only reminisce about the past and hope to carry on with life as it was before. Coronavirus has temporarily and in some ways permanently altered our lifestyle, aims for the future and our values, with good health and meaningful relationships being something we now value more than ever. Limited to our homes away from normality, feeling nostalgic has been inevitable, where Hozarth also states in her essay that ‘reflective nostalgia is not a fruitless burial into the past, but a resource for processing the passing of time in a creative manner’. This also describes the way I have worked on this project, as I re-visited memories and places I’d been to over the past 3 years, an undoubtedly happy, creative and productive way to make use of the time on my hands.
Besides reminiscing about the past, we are all currently having to adapt in one way or another, in which Coronavirus has forced me to approach the way I work from a new perspective whilst keeping true to my practice. I like to think that my sculptures are animate beings that have a life of their own, and due to their formlessness and surplus textures they are able to move, grow, evolve and mutate. Transformed from materials to sculptures, from sculptures to videos and then from videos into new videos and gifs, my sculptures have evolved further from their material origin. This distancing also relates to the uncontrollable nature of sharing data online, where it can be difficult to determine and trace the original source. With exhibition spaces closed for the foreseeable future, my sculptures adapt to their new habitats in these real outdoor spaces I’ve visited, keeping these places company as they are most likely abandoned at the moment with hardly any visitors due to lockdown.
‘Flowers’ – Anna Hor
Selecting photos to use for this project also helped me to declutter my photo library and reduce my iCloud storage, where I discovered a list of categories my phone library had created. The category of ‘Flowers’ made me laugh because my phone has mistaken a lot of my sculptures for flowers, even one of my sculptures is confidently the thumbnail of the whole album. Turns out my phone had been adding to this album for over a year and I had no idea, ironically collecting more images of my sculptures than actual photos of flowers. Many of these photos of my sculptures are like my videos where you are unable to see the edges of the whole object, so understandably my phone got confused with them as if they are zoomed in images of flowers. Thinking about it, my phone’s unsuccessful ability to distinguish between my sculptures and flowers relates to my project a lot, since these photos of my sculptures had blended in with the photos of flowers, taken over the majority of the album and secretly fitted in going unnoticed. It also feeds into the themes I explore in my practice since my phone essentially grew an album which my sculptures moved into, having a life of its own as it continues to grow, mutate and evolve by itself over time.
Anna Hor – Reference
Faces of nostalgia. Restorative and reflective nostalgia in the fine arts. By Gizela Hozarth
Partium Christian University in Oradea (Romania)
Anna Hor – Reference
Materiality as the Basic fo the Aesthetic Experience in Contemporary Art By Christina Murdoch Mills
The University of Montana
Tim Hollander – E. Taken from Collected Wramblings (If there ever was a time, might it be now?) (2019)
Click on the thumbnail to view the PDF
Feng-Shui: This is a page of a booklet. The booklet was composed with Feng-Shui signs and words from a children’s book.
Laure Prouvost, Legsicon. 2019. Legsicon delves into the philosophical depths of the artist’s practice, through the familiar, if transformed, format of a lexicon, to portray the work of an artist developing complex thought through artistic languages. Deviating from a typical monograph, Legsicon functions as a sort of dictionary, exploring and expanding on thirty-six notions in Prouvost’s work, with each incorporating a commissioned text, new drawings created by the artist and selected documentation of her related works.
The Merry Cobler and his Musical Alphabet, +- 1815.
If I’m lost you will look and you will find me, 2012. The core of Uta Eisenreich’s practice is an investigation of the incongruous relationship between thought and reality. Walking a fine line between common sense and uncommon nonsense, she systematically explores the familiar methods for understanding our presumed reality. She focuses specifically on examining the nature of language.