"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’.
The idea of 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 the stories of earlier civilizations. It is an exploration of the ways in which places are being understood, told and ritualized, shaping the natural surroundings in the same process.
The idea of cultural erosion adds a cultural layer to the natural concept of ‘erosion’, meaning the process by which the surface of the earth is worn away by the action of water, glaciers, winds and waves. Exploring 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 surroundings. This is also an exploration of the ‘Anthropocene’, questioning the idea of nature and culture as separate entities.
My collages are both destructive and creative processes in which I create 4-5 motifs or ‘intensities’ in a simultaneously controlled and explosive process of painting. These ‘intensities’ are the base of my collage work process in which I add layers, rip them, paint over the material, add pressure to the material, rip the material again and add new material in a constant dynamic between erosion and sedimentation of both materials and meaning.
My latest works are multi-temporal scenes, exploring landscapes or places in which old tracks, artifacts and memories are present simultaneously, telling the stories of the lives once there in the leftovers."
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.