PALIMPSESTS 2/3
TECHNE
The gesture of repetition and layering
The references to mapmaking between inner landscapes and outer methods
The use of photography
The term Techne, in its ancient Greek philosophical context, emphasizes a broader notion of craftsmanship, artistry, and skill that encompasses not only technical proficiency but also the embodiment of knowledge and skill in one's physical actions. It's more about the accomplishment of the body and the holistic understanding of an art or craft. Using ‘techne’ as a subtitle, highlights the deeper connection between my art and the physical, embodied aspect of creation, rather than a more modern notion of machine-based technique. It adds depth and richness to the meaning I wish to convey.
The composition of the ink works, which is a continuation of certain geometrical figures and shapes, which I now understand as elements of my conceptual toolbox, contain references to the fragment and the fractal. To the crackled earth in East and West Africa where I traveled as a child and young adult It reminds me of cardiography and map making, and tries to make order of interior or exterior spaces (not necessarily places, but not excluding them either) in what could be comparable with a coordinate system.
The INK GRIDS fall within the category of 2 dimensional works but are really the foundation of working out attempts at relationships with the 3 and 4 dimensions.
The little lines reaching out from each square are as mentioned before a kind of seedling, but also a kind of bridging the gap - at most they cross the empty spaces between the coloured fields and bridges therefore the transparent background, enabling an effect almost like a weave or a tapestry, both of which are references and methods which on a modest scale have been part of my artistic history.
My photographic work goes far back into my childhood, and began at the same time as I began traveling to Africa. The camera was a gift from my father to document my journey to these wildly exotic places. From then on I studied photography at school. I used a dark room, but never took it further than to always document my daily life and journeys as I moved from country to country, be it at home documenting mundane moments, a ray of light or something else like a walk to the grocery store, in the woods, or visits to exotic places.
However, I never, except for a few occasions, exhibited my photographic work purely as photographs. For me to make a photography work, I need to have my hands become part of it. I must experience ripping it apart, making it look like an old poster on a wall, scratching it and wearing it thin as if by the weather.
To be continued next week.
©️ Camilla Howalt
>> Untitled, 2022 - Photograph by Camilla Howalt
