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Zemlja,Umetnost
/
10 septembra, 2022

Tadej Zupančič: Henry Kitcher in kiparjenje z zemljo 

Dolg, temen hodnik v skoraj neopazni, nekdanji obrtni delavnici na Greatorex Street v Whitechapelu, se naenkrat odpre v prostor, ki se kopa v difuzni dnevni svetlobi: na tleh je šest različno velikih krogov, sestavljenih iz zidakov iz zbite zemlje; krogi, tako večji kot manjši, so deloma zasipani z zemljo. Na prvi pogled so si podobni, vendar pa je v bistvu vsak zidak popolnoma drugačen. Vse je odvisno od sestave zemlje in kot zelo pogosto je najbolj imenitna črnica, rodovitna temna šotna zemlja. Instalacija – njen naslov je Enclosure (Ograda oziroma Ograjevanje) – je neverjetno pomirjajoča.

Henry Kitcher, britanski kipar mlajše generacije, je pred štirimi leti diplomiral na London College of Communication. V primeru Enclosure opozarja, da je »skromna opeka« – pravi ji »infrastruktura imperijev« – narejena iz zemlje, ki je bila »prekrita, zavrnjena in odstranjena«, sami krogi pa ponazarjajo »ujetost in omejeno rast«: »Materiali so elementarni in divji, vendar inscenirani in kontrolirani.«

Kitcherja so vedno zanimali različni materiali, tudi mavec, video in programski jezik C++ oziroma UE4 (za projekt Green Screen, vizualizacijo gozda v filmskem studiu), med pandemijo pa se je posvetil raziskovanju zemlje in sušenju zidakov. »Res se je začelo z eksperimentiranjem, zdaj pa je moje razmerje z zemljo bolj kompleksno. Tudi zato, ker traja vsaj dva tedna, da se posušijo dovolj, da jih lahko začnem uporabljati. In tako so vedno prisotni ... vedno: se ali sušijo ob steni studia ali pa jih oblikujem in sestavljam.« 

In kaj ga je pri zemlji potem najbolj pritegnilo? »Taktilnost. Občutljivost. Dostopnost. Prvinskost.«  Ter dejstvo, da praktično ni nobenih odpadkov: »Odvečno zemljo preprosto pometem v vedro in jo uporabim naslednji teden.«  

Vzorniki, kot pravi, niso nepričakovani, nepričakovano je bilo samo to, da so se ga prijeli že v srednji šoli, ko mu je učitelj med likovnim poukom pokazal dela Richarda Longa, Andyja Goldsworthyja in Ane Mendieta, dveh najvplivnejših britanskih konceptualnih umetnikov ter prav tako vplivne kubansko-ameriške feministične umetnice. »Kar glavo mi je razneslo,« pravi. Potem so seveda prišli na vrsto še Robert Smithson, Nancy Holt in Dennis Oppenheim. 

Uporaba zemlje vse od šestdesetih in sedemdesetih let prejšnjega stoletja sicer ni nikoli popolnoma izginila iz repertoarja umetniških materialov, vendar pa je Kitcher vsaj v Britaniji zdaj eden redkih kiparjev, ki jo tako sistematično raziskuje. 

Razstava na Gratorex Street je zdaj zaprta, zato pa so do 23. septembra Kitcherjeva nova dela – med drugim Thorn bush with roses (Trnasti rožni grm), serija ornamentov iz zemlje - na ogled na skupinski razstavi Souvenir v galeriji Bye Bye na Rivington Street v Shoreditchu; poleg Kitcherja razstavljajo še Rémy Briere, Ana Viktoria Dzinic, Benjamin Edwin Slinger in Carro Temboury. Razstava raziskuje 'razmerja med človekom in objekti' ter zakaj jim pripisujemo pomen – ali pa tudi ne. Eden od ornamentov je tudi ploščica z vtisnjenim smejčkom: zdi se prešerna in polna optimizma, vendar pa je vprašanje, če je to tudi res. Kaj pa če smo tudi smejčku, pa čeprav je vtisnjen v zemljo, pripisali pomen, ki ga nima?    

Piše: Tadej Zupančič

Fotografije: Gillies Adamson Semple

https://www.henrykitcher.com/

https://www.byebyegallery.co.uk/

 

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