SENSE - MAPPING
1 June - 18 August 2012
Platina will be closed in July, For opening hours please have a look
is it that a color is able to evoke the sensations of smell? And how
does weight, not touched, not carried, trigger a strengthening of our
muscles? And why would a visible, endless repetition of handling stretch
the notion of time, and have a sound to it, and a rhythm still active
after the work has ended?
How can remnants of process be frozen in the memory of surfaces and
bring back a sense of movement?
How can we feel the pulling and stitching in our hands, how does the
process of crafting work enable our hands to think, or is it the hand
at work which informs our thinking?
The unconscious recognition of tactility, sound, size, smell and temperature
of environments is what allows us to differentiate one context from
These contexts are filled with the event-ness of material: materials
in conversation with each other, striking up conversations.
How do I make sense of my surroundings and how do I sense it?
The intermingling and exchange of senses, conscious and unconscious
are the construction elements of what I make of a visual encounter.
The puzzling together, and being puzzled, this process of making sense
is what I am interested in.
I avoid the need to make sense of an object instantly, the event should
not be linear, but rather gather around, departing and reentering the
encounter with the objects.
The embodiments of objects are the sensation I try to find in the uttermost
silence - in the presence of work.
The event should be work not consumption.
- Iris Eichenberg
is since 2006 Head of the Metalsmithing Department, Cranbrook Academy
of Art, Michigan, USA
2000-2007 she was Head of the Jewellery Department, Gerrit Rietveld
Academy, Amsterdam, NL