I appropriate hi-tech industrial materials in order to turn their original purpose into something more poetic, brutal, and surprising by applying them in an alien way. My recent sculptures and collages were made from sturdy, lightweight materials known as lightcore, including kevlar, aluminium honeycomb, fiberglass, and epoxy resin. These materials are commonly used to manufacture satellites, spaceships, aircraft, cars, weapons, bulletproof vests, and large-scale communications devices.

At the Cirva, I would like to take experimental cosmic trips without limits. I am dreaming up projected spaces, such as floating oceans, a fusion of the infralives in the seas and the skies, as well as cyberspaces in distress in poetic virtual reality devices. My project begins with the image of a wave that detaches from the earth’s crust, enters orbit, and circles the earth, brushing past a variety of spacecraft, stray electronic debris, secret information, and invisible microorganisms from the abyss that were spit out during the interspatial tide. My research on glass can be likened to a ballad based on various unidentifiable shapes, provoking collisions, encounters, fusions, diffractions, disappearances, and unexpected recognition in a fog that includes the Kessler syndrome. I am imagining a glass “debris” factory producing energy—light, for example—and a play on optical depths causing images to appear and disappear according to the arrangement of cells and even the coexistence of technological psychic entities wandering about in the transparency and which produce connective material.
 

📷 Estrid Lutz