Nearly one hundred samples of seawater donated by people globally,
combined with satellite imagery and rendered into fridge magnets. Prolonging
the act of remembering, souvenirs are anchoring points for lived experiences. Dislocated
from their origins, each sample now lingers as a distanced representation of the
bodies of water they once constituted. The work addresses common attempts of
reconciling the act of experiencing and remembering within the domestic space as well
as the idea of the tourist as a metaphor of a changing post-modern world.
(This) precious stone set in the silver sea' at Copperfield Gallery London. Curated by Aina Pomar.
Photos by Eva Herzog.
Tierra de Diatomeas
A hybrid research project where diatoms are addressed as a metaphor to establish
a dialogue by remembering historical events, tracing existing narratives and discussing
desirable futures of the land, its waters and its people.
Diatoms are microorganisms sensitive to chemical changes and are therefore used to analyse
ecological parameters such as water quality. Due to their cells silica wall, they fossilise
easily. Through their study, it is possible to analyse agrarian cycles for example marked
by the arrival of the Romans, the Industrial Revolution or livestock farming. Diatoms can be
found everywhere as they disperse easily, with their presence not limited to places where there
is or was water. Furthermore, diatoms outline a map of invasions through the study of their
migration, dispersal and propagation of different species, resulting from human activities.
The work materialised in several ways including: a living cartography of all diatoms collected,
hybrid ways of using microscopy, the rememberance of submerged towns, the construction
of tools for scientific sampling, and a replica of traditional ways of laying cobbles ahead of
the incipient architectural anesthesia.
Developed in collaboration with Susana Cámara & María Boto Ordóñez at the Museum of Contemporary
Art of Castilla & León. Supported by the University of León, through the Department of Cultural Activities,
the Vicerectorate of Social, Cultural and Sport Responsibility & the Laboratory of Diatoms of León as
well as KASK/School of Arts de University College Ghent.
Technology has profoundly transformed our relationship with the Sun.
For many of us, glowing screens composed of glass, LED lights and
microchip processors have eclipsed its influence on our daily lives
and its rhythms. These materials all use silicon dioxide, otherwise
known as silica, as a basis for their manufacture. Silica is the most
abundant compound in the earth’s crust and is the most common constituent of sand.
Photosphere contains grains of human-made silica sand that have been treated
to emit full spectrum white light when exposed to ultraviolet radiation. This new
technology, created by scientific researchers Dr. Jesús R. Berenguer Marín, Dr.
Rubén D. Costa and Prof. Javier García, is one of the closest humans have got to
replicating the natural light of the Sun to date. It has the potential to minimise
the adverse health impacts of artificial blue light which disrupts the body’s circadian
In Photosphere, the artificial silica sand was mixed with almost three hundred grains
of natural sands collected from different geographic locations from across the world of
diverse geologic timescales. Understanding sand as a material that represents not only
the basis of our technological and knowledge based society but also cosmological, geological,
biological processes of which we’re intrinsically part.
Commissioned by Somerset House for "24/7: A Wake-Up Call for our Non-Stop World" with support from the
Adonyeva Foundation, IMDEA Materials Institute and Universidad La Rioja.
Documnentation of Photosphere by Eva Herzog.
A vinyl on the wall reads: "Exhale. Your breath can be part of this stone's memory."
As visitor's approach a large wooden chest a grid of diffusers invites them to make
a donation. One by one, they place a diffuser into a recipient containing the artist's
bodily composition of fat, carbon and water. Then, they breathe.
Breath upon breath, each layer becomes a receptacle embedding an ephemeral process
like breathing individually and permanently within the limestone. The stone was then
printed continuously, using a traditional printmaking technique, until a corresponding set
of fifty prints revealed the breaths captured in the collection process.
Special thanks to MU Artspace who commissioned the printing of the breaths during
the exhibition 'Fluid Matter: Liquid & Life in Motion'.
Captured Rainfall Through Asphalt
A copper plate was exposed to the weather in London.
In order to capture the data provided by the environment a thin layer of asphalt was
carefully placed on the copper's surface and exposed to the weather. Results were notable
after an exposure of two hours. A signed limited edition of 10 prints were made.
Light to 'light'
The term “light” and its definition exposed to 342 years worth of light:
a cycle equivalent to the time elapsed since a form of radiance,
beyond the visible, was first measured. The work is accompanied by a letter
certifying the exposure signed by the laboratory.
One year of thoughts
Thoughts were written for one year using the same pencil.
As the pencil was used and sharpened, the lead and pencil
shavings were collected. Then, the pencil was reconstructed
into its original shape.
A sonification of air in real time. Installed in the gallery is an air monitoring device,
an AQ Mesh, linked to each of the speakers. It measures emissions including: nitrogen, carbon
dioxide and ozone, travelling from - and to - the outside of the gallery. Each speaker is hung
at the corresponding weight of the elements being sonified tracking the change in value,
minute by minute.
Commissioned by the Royal College of Art, Curating Contemporary Art, for “4717” at Dyson Gallery.
Generously supported by LUX Moving Image, Audio Technica and Air Monitors UK.
Our bodies produce between 0.75 and 1.5 litres of saliva a day and,
whilst 99.5% of this clear and odourless fluid is water, the remaining
0.5% provides an incredible insight into who we are, by providing
a complex, biological fingerprint. This impressive substance is anti-fungal,
anti-viral, coats tissue, buffers between environments and aids in digestion
Within teeth, bones, muscles and even mobile phones -
in almost every solid object around, crystals are everywhere. And, whilst
geometry is usually associated to a human construct most of the things that
surround us crystallise in a perfectly ordered and geometric shape. After
working with salivary researchers and expert crystallographers based at King's
College London two perfectly ordered crystals were grown from saliva.
Special thanks for their dedication to expert crystallographers:
Brian Sutton & Alkistis Mitropoulous & salivary researchers: Jack Houghton,
Matthew Blakeley & Lucy Blandford based at King's College London. Thank you
Science Gallery London for commissioning the first crystal.