Evelina Borén is an artist who creates material oriented sculptural works.
She is inspired by human behaviour and is particularly interested in the consequences of fear. She works with the problematic approach towards value, the search for meaning and with mortality.
In her previous project she explored the phenomenon of projection and through allegorical linguistic use - "what we make visible", focused on what formed the periphery. In a personal project she investigated flight, and the power of intersubjective worlds where fiction becomes reality. A place where the human reincarnates the system by the notion that believing in it, also holds the promise of becoming part of it. The bigger the sacrifice, the stronger the conviction.
In her upcoming project, instead of exploring the consequences of orientating oneself through incognizant identification, rendering objects into subjects (like in “Out of focus”),
Evelina investigates what it is to be a thing amongst Things.
2019
“The place in which I find myself, my actual ‘here,’ is the starting point for my orientation in space. The starting point for orientation is the point from which the world unfolds: the here of the body and the where of its dwelling.“*
*Alfred Schutz and Thomas Luckmann, The Structures of the Life-world, trans. Richard M. Zaner and H. Tristram Engelhardt (London: Heinemann Educational Books,1974), 36.
This project is based on my own ambivalent feelings regarding what it means to be an artist. I explore the fiction within the intersubjective reality and the escape to and from it. I use salt as a material because of its self-creating, organically growing qualities and because of its vital intrinsic value. If I could evoke value and meaning within a context where altered expectations and rules prevailed, is it then possible to draw strength from my own conviction and let obsession set me free?
I am inspired by reliquaries and the exotic “Cabinet of curiosity” - A place of imagination where the unidentified objects have to relate to each other and to the conditions ascribed to them, far from their own context. A space of assigned value.
2016
To avoid seeing something is to prevent it from taking up space and consequently drain it of value. We reduce the uncomfortable by placing it, consciously or unconsciously, in the background, hoping it will disappear. The act of avoidance creates a false illusion that the situation could be reduced to a point of vanishing.
Invisibility becomes a state of transformation and struggle between bodies, where one becomes reduced in order to feed the other. Where concealed inner aspects become external and end up encountering you from the outside.
IN CONTEXT OF "OUT OF FOCUS"
2016
“Saved seat” investigates our approach to the idea of someone (or something) when the physical body is absent, and how we construct our body, strain and transform it to be seen. It’s also an investigation about how ignored bodies must behave according to the ruling norms, laws and surroundings created by others. The "prostheses" is used symbolically within the work, as an added body part on bodies deemed (by the carrier itself and / or by others) as incomplete.
The piece is about the ambivalent desire to take a place and take up space, the expectations of what it means to take that space (the borders, size, and proposal of weight) and the actual use - where the “way of sitting” has developed one substantial leg.
We place value in the Ritual, and the Ritual Object,
as though it was proof of our dominance over nature.
Elevating ourselves
while trying to create a distance to our primal origin that is so vast,
we expect it to reach into an afterlife.
As a body-related object, corpus becomes "a body in my place," a "substitute body". Corpus can embrace, crush, lift, divide, carry, grip, contain, leak, hide and preserve. Bodily functions transferred into another body. Is it therefore also possible to shift ones identity (or parts of it) into a corpus? We want to find meaning, a sense of being- and being part of a whole, and of permanence. Are we, on a subtle and unconscious level, processing our own transience?
This solicing Offertory of innocent, weak and fragile milk, was created to be broken up into pieces and eaten, symbolizing the illusion of the everlasting. It´s set whithin the context of a surface that covers, elevates and construct objects and situations, behavior and conversations.
The human's relationship to objects shapes behavioral patterns and routines, norms and values, social interactions and societal structures. Everyday objects are loaded with action. In patina, wear and repairs a fragmentary picture of history emerges that tells of a small part of a person's life. With found objects, I explore the tactile echoes that have arisen from the relationship between humans and objects.
Exhibited with the works of Ninnie Schröder.
A material investigation of the possibilities of metals. The objects do not possess the physical function of an object of use, but are instead created to be filled with other values.
2012
By emphasizing the organic element, rather than overshadowing it, the boundaries between what might be considered precious materials in the jewelry are blurred. I use organic materials to investigate the possibility of freezing their volatile nature. If time has no effect on the object, does it then become indirectly unnatural?
Photography by: Ninnie Schröder
