research context

The project was created in collaboration with the Klimaatmuseum for its upcoming exhibition on ecology and innovations. Exploring various concepts within ecological initiatives, my attention was caught by the Degrowth concept, which subsequently became the driving force of the project and an inspiration.

This concept offers a radical rethinking of our economic and social systems. It aims to create a more sustainable and equitable world by reducing the emphasis on economic growth and focusing on quality of life, environmental sustainability, and social justice. It provides a compelling vision for a future that balances human well-being with planetary health.

For me, the concept of Degrowth is largely about balance in a social, ecological, and economic sense. Balance is always about something conditionally bad coexisting well with something conditionally good. That is how the world should be globally arranged. These reflections guided me towards the theme of balance and coexistence as my key concepts in the work.

read more

Savini, Federico. “Degrowth Will Make Healthier and Happier Cities.” University of Amsterdam, 19 Jan. 2023, www.uva.nl/en/shared-content/faculteiten/en/faculteit-der-maatschappij-en-gedragswetenschappen/news/2023/01/degrowth-will-make-healthier-and-happier-cities.html.

Meissner, Miriam. “Towards a Cultural Politics of Degrowth: Prefiguration, Popularization and Pressure.” Journal of Political Ecology, vol. 28, no. 1, 2021, pp. 511-532, https://journals.librarypublishing.arizona.edu/jpe/article/id/2972/.

Through my installation, I aimed to create a piece that is both aesthetically appealing and thought-provoking. The ability for the installation to be interpreted in various ways is a significant aspect of my work, as it provides a space for contemplation. By incorporating vivid and clear symbols of human consumption and nature, I strive to engage the audience in reflecting on ecology and our impact on global balance.

The installation has been displayed in three different contexts — studio, performance, and exhibition — each time altering its effect and impact. For instance, when placed within the Klimaatmuseum, surrounded by studies on ecology, innovations, and the concept of Degrowth, the installation gains a defined context. This setting narrows the range of interpretations but also inspires more specific and functional thoughts.

This diversity of contexts, along with exploring visual methods and ways of appealing to various audiences, led me to the primary research question of my project:

What are the most effective artistic strategies for inspiring and motivating action toward a future that is sustainably balanced with nature?

Additionally, my project explores a sub-question:

• How does the choice of materials in an installation affect the audience's perception of the message about degrowth?

The choice of materials is crucial as it influences how the audience interprets and engages with the work. Through careful material selection and creating aesthetically appealing pieces, my goal is to attract the audience and subtly engage them in a meaningful dialogue about the balance between nature and humanity, as well as each individual's personal impact on this balance.

Degrowth actively addresses the issue of overconsumption as one of the main reasons for disrupting balance. Overconsumption became the third key term in my work. My concept involved using a visual metaphor to depict the coexistence and interaction of two contrasting elements – artificial and natural. These elements metaphorically represent key polarities in a balanced coexistence, which is currently significantly disrupted.

methodology

In my installation, the key visual idea was to compare the artificial with the natural, to intertwine them, and to put them in a dialogue. I chose receipts as the artificial material because they symbolically reflect the theme of overconsumption and create a narrative suitable for my concept.

For each receipt, I decided to print a natural texture on top. I wanted to play with symbols, intertwining letters and numbers – human symbols – with natural textures and shapes – symbols of nature.

I included a variety of textures and shapes, trying to encompass as many variations of natural elements as possible: water, earth, sky, ice, fire, and so on. Thus, each receipt became a microcosm and a unique combination.

As a natural element, I used found branches. They are mobile, large objects, and it is quite a vivid symbol of natural power among tangible ones.

I designed an installation where receipts hang between sticks. I planned to use natural materials for this, such as twine and wooden clothespins. The choice of such a composition happened intuitively. It is quite obvious and simple, and allows me to attach as many receipts and in any composition as I want. This method of hanging can evoke different associations, but I think this is even good, though I myself did not put any special meaning into it.

The process of printing on receipts, where an image is burned out on the synthetic coating, already presents a dialogue between the natural and the artificial, adding deeper layers of metaphorical meaning to the installation. Moreover, the images on the receipts fade over time under the influence of ultraviolet light, making this synthetic material susceptible to the influence of natural processes.

Receipts are a fragile and unpredictable material that changes its appearance by itself, curling and fading. I am observing this process and planned the installation in such a way that it allows changes: re-arranging receipts, changing the visual composition and replacing receipts with others. In a couple of months, when the receipts partially fade, I can replace some of them with "fresh" ones and give a completely new look to the composition, emphasizing the dynamics and temporariness of any element on our planet, be it synthetics or nature.

artistic process

development

Working with receipts involves three stages: collection, printing, and observing subsequent changes. I collected receipts from people around me, gathered my own, and also asked for them in stores.

For printing, I used a special thermal printer suitable for working with receipt format. Before printing, there is an opportunity to edit the image in various ways and making images positive or negative. Thermal printing significantly simplifies the image due to the large pixels used in printing, so it was necessary to select the appropriate settings. During this stage, I tested various settings. I grappled with the question, "how abstract or readable do I want to make the texture?". I contemplated making natural shapes difficult to recognise, compelling viewers to interpret the images and guess their origins. Ambiguity can create confusion and attract attention. However, ultimately, I intuitively chose an individual approach for each texture, guided more by my aesthetic preferences. As a result, some of the images are easy to recognise, while others are not.

As I mentioned earlier, the images on the receipts fade over time. Although I have previously worked with thermal paper, I had not specifically worked with real receipts. I used my very first print on a such material for testing. I left this receipt under the sunlight. In the photo, you can see how the image faded after 3 months. I use this experiment to predict how the installation will evolve over the course of the 4-month exhibition.

The most extensive and intricate process was finding the right sticks. Initially, I searched in city streets and parks. My first pair of sticks was discovered near a street trash can, while others were found in a pile of sticks pruned by gardeners.

Feeling the need to continue the search elsewhere, I visited a large national park abundant with untouched nature and evidences of natural processes. Among the long-fallen trees, I found several suitable sticks. These sticks were completely dried up and lifeless.

At this point, I realised that freshly cut sticks and naturally decayed ones tell two different stories, setting different moods for the installation. This led me to question, "Should the natural elements in my installation show signs of life or be completely lifeless?" . Both options could fit the installation, as I aim to avoid explicit interpretations and leave room for viewers' perspectives. However, in my view, the lifeless natural material resonated more with the synthetic "partner" in this dialogue, shifting the narrative towards decay more than life. This pairing of lifeless synthetic and lifeless organic materials emphasises the disrupted state of balance in their coexistence.

Initially, the installation did not include a stand for the sticks. It was assumed that the sticks would lean against the wall. As a result, the shape of the sticks influenced how they would stand in the installation, as their stability against the wall was facilitated by their shape, specifically, by the additional branches on them.

In my practice, I always involve an element of chance. I value processes such as intuitiveness, randomness, and unintendedness. In this way, my practice becomes closer to nature, and I acquire unique opportunity to interact with forces beyond my control.

Conceptually, receipts in my work represent overconsumption. However, most of the receipts I collected are from grocery stores, which somewhat dilutes this symbolism. One could argue that food also falls under overconsumption. It's often produced in quantities exceeding what people need, and a significant portion ends up in landfills. There, instead of naturally decomposing, it rots in a way that harms the atmosphere.

However, if I had managed to collect more receipts from clothing stores, luxury stores, souvenir shops etc., the receipts would have better served the concept. Regrettably, during the project, I encountered negative reactions and stress from interacting with salespeople. Furthermore, asking shops for receipts essentially means asking salespeople to rummage through the trash, which is quite inconvenient for them and distracts them from their work. Overall, for this installation, I worked with the material that I could obtain. In the future, I see greater potential in receipts from stores associated with overconsumption more.

During the image fading test on the receipt, a rain drop accidentally fell on it. The image inside the droplet faded even more. This was a very curious moment and before this test, I did not know about such a reaction of receipt paper. Potentially, I could put all my receipts under a light rain and get a visually interesting effect, which could enhance the interaction of nature and this synthetic material, making it literal, not metaphorical.