"My collage works are always in flux; a constant back and forth between erosion and sedimentation of both materials and meaning. As I add, rip, rearrange and destroy the materials, my works are constantly falling out of place, fragments of material and meaning are both added and lost in this process. My ambition is to explore objects, places and landscapes that are both appearing and disappearing at the same time, much like a vision: nothing is entirely there — and nothing is lost. I consider my works multi-temporal scenes, exploring landscapes or places in which myths, old objects, memories and possible futures are all haunting the present simultaneously."
Nothing is entirely there – and nothing is lost.
My collage work are both destructive and creative processes, in which I create 4-5 motifs or ‘intensities’ as the starting point of my series of works. I add layers, rip them, paint over the material, add pressure to the material, rip the material again and add new material..
In my most recent work I have turned to the collage as a process in which I explore natural processes such as sedimentation and erosion as cultural phenomenons. In my work I explore what I would call ‘mythological sedimentation’ and ‘cultural erosion’.
Mythological sedimentation is based around the notion that human civilisations and cultures leave mythological marks on our surroundings. In its most basic form it is the cave paintings that have become part of the caves that formed the main cultural narratives of these civilizations and now reveal stories of earlier civilizations. It is an exploration of the ways in which places are being understood, told and ritualized, shaping natural surroundings and our understanding of them in the same process.
Erosion is the process by which the surface of the earth is worn away by the action of water, glaciers, winds and waves. By adding a cultural layer to this natural concept I wish to explore the ways in which the cultural processes transform, rebuild and wipe away our surroundings, shaping and molding as a result of capitalist production, wars, construction and cultivation, that takes place in our natural and cultural surroundings.
My collage works are always in flux in a constant back and forth between erosion and sedimentation of both materials and meaning. As I rearrange the materials, the work is constantly falling out of place, fragments of material and meaning are both added and lost in this process. My ambition is to create works that are both appearing and disappearing at the same time. Like a vision: Nothing is entirely there – and nothing is lost.
The works become multi-temporal scenes, exploring landscapes or places in which old objects, memories and possible futures are all haunting the present simultaneously.
The art critic John Berger wrote a passage on the cave paintings from the Chauvet Cave in France in his Portraits. This passage has been one of the key inspirations for my work. The cave paintings are, according to Berger, enveloped in a literal and historical darkness that won’t allow us to fully understand these paintings. They remain a mystery to us. However, this mystery might also be a place for visions. Berger writes: “We have no word for this darkness. It is not night and it is not ignorance. From time to time we all cross this darkness, seeing everything: so much everything that we can distinguish nothing.”
This is the darkness I wish to explore. In my collage process any clear perspective is lost. Much like the cave paintings, created over many years by different people and cultures, different scales stand next to each other, cross over and cover each other up. The so-called natural order of things, the rationality of our modern-day vision and the linearity of time is forgotten for a brief moment. Things, memories, and visions are all there simultaneously in the places and landscapes we walk through; piled on top of each other, finding new meaning, intertwining and fragmenting.
Kasper Mikael Jacek (b. 1989) is a self-taught artist based in Aarhus, Denmark. His artistic work is a continuation of his academic and journalistic work on the subject of place, working with the historicity of places, the mythologies and memories bound to certain places and exploring new ways to tell stories about so-called ‘dead’ objects. His works are an exploration of the ways in which the places surrounding us are being continuously transformed, being rebuild and wiped away by cultural and natural processes, leaving cuts, wounds and scars, that are at the same time both destructive and life-giving.
His works almost never reveal any human drama, but are told from the perspective of the place: the ground, the field or the hills. The human drama only reveal itself as leftovers, shadows, scars or memories left behind from earlier civilizations. His works are always moving in and out of different scales, temporalities and styles of painting; balancing between the abstract, archaeological exploration of textures and surfaces that he cuts into, paints over and digs out again, revealing earlier layers of paint — and mythological, figurative objects such as vases, cave paintings, shadow animals, figurines, statues, monuments and ghostly figures, haunting the places that his works explore.
He often uses found materials such as paper, plastic, wood and stone from second hand stores, landfills and the streets of our cities as the starting point of his work. These materials are both natural and culturally produced at the same time. The found materials have their own history, and his works explore these stories, while at the same time transforming and scaring the material, continuing the erosion and sedimentation of the material.
Nothing is entirely there – and nothing is lost.