Please use this identifier to cite or link to this item: http://hdl.handle.net/1942/44288
Title: Shedding Skin
Contributors/Performers: DEBEER, Lydia Hannah 
Issue Date: 2023
Abstract: The diptych Shedding Skin (2023) gradually permeates our physical space. The elongated, vertical screens compose a layered image of a tumultuous sea, with the waves unfurling like pulsating currents. Positioned opposite each other, the screens invite you to observe differing moments from differing perspectives. It is impossible to monitor both scenes simultaneously. The massive waves, spawned by severe weather, tower above us, the horizon unusually high. The swaying, drenched visuals represent, in a way, the culmination of water that dripped from the mountain snow. The interplay between the intensely moving water and the stationary mountains is laid bare.

 Debeer lets us wander through ambiguous spaces that lie between the present and what is yet to come, between transitions teetering on the edge. Just as the gap between speaking and hearing is bridged by the speaking body, her work mirrors the underlying, insurmountable emotional distance to someone else.
Document URI: http://hdl.handle.net/1942/44288
Link to publication/dataset: https://www.lydiahannah.be/shedding-skin
Discipline: audiovisuele kunsten
Research Context: “The diptych Shedding Skin (2023) gradually permeates our physical space. The elongated, vertical screens compose a layered image of a tumultuous sea, with the waves unfurling like pulsating currents. Positioned opposite each other, the screens invite you to observe differing moments from differing perspectives. It is impossible to monitor both scenes simultaneously. The massive waves, spawned by severe weather, tower above us, the horizon unusually high. The swaying, drenched visuals represent, in a way, the culmination of water that dripped from the mountain snow. The interplay between the intensely moving water and the stationary mountains is laid bare.” Yasminn Van ’tveld Even though a lot of the techniques I take inspiration from are known to reduce stress, I do not want to put the ‘healing’ of myself or the spectator as the goal of this research. I do not make and do not wish to make art with a singular therapeutic goal. As Maggie Nelson states in On Freedom, Four Songs of Care and Constraint (2021): “The whole point of reparative reading is that people derive sustenance in mysterious, creative, and unforeseeable ways from work not necessarily designed to give it and that the transmission is nontransferable and ungovernable” (Nelson, 2021: p31). I am looking for an embodied creative process (me) on the one hand and a physical experience of my work (the spectator) on the other. Through this work, I want to create time and space for the ‘fertile void’, the purposeful useless.
Related Info: Uhasselt
Pxl Mad
Fred&Ferry gallery
Category: AOR
Type: Artistic/designerly creation
Appears in Collections:Artistic/designerly creations

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