Withdrawn for months in a remote place on the Chilean coast, Carcel d’Oro came along as an attempt to comprehend the rock on which we were residing. As the simple humans we are we used logic to proceed. We contrasted the surface of the rock with a superimposed grid of 16 holes. Our hands and a minimum set of tools were used to excavate the voids. We felt the changes of temperature and material as we dug. Finished, the walls surrounding each hole enabled us to read the earth, line by line. 

 

Each void showed to become silent, but present sculptures, carved into the surface of the rock. Three sculptures were articulated further by raising columns from their protected hide under the skin of the rock. The earth was now confronted to its surroundings, as the surroundings were confronted to the earth. 

 

Our pursuit to understand the landscape became a yet evolving dialogue between our interference in a savage landscape, and the forces of its surroundings. We are still today aware of that dialogue as the sculptures decompose towards another nature: A nature where we and our logic grid is nothing but a part of a rock and its inevitable history.

© g h e z z i a g e r s k o v
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