17. PARTNERSHIPS FOR THE GOAL
Adam Jeppesen and Kim Dolva
Working Title: The Resting Bell
INTENTION
ARTISTIC INVESTIGATION
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After originally being chosen as the only artist to represent goal number 17 - Partnership and collaboration, I, Adam Jeppesen, have decided to take consequences of the intentions with this goal by developing and creating the work as a collaboration.
As is often the case with the development of artistic projects, there is a tendency for the artist not to reveal much of his thoughts and intentions until the final work is revealed. However, this is the same mechanism that can be found in other industries and even among nations. A secrecy built on the protection of intellectual property, intelligence and even national security.
One could argue that it is reasonable to protect these elements. But one can also argue that there is an abundance of protectionism that ultimately benefits only a very small group of people and does not ensure human prosperity more generally. The act of relinquishing the exclusive right to create this paragraph should be seen as a small act on a macro scale.
It is an experiment that aims to demonstrate the potential of collaboration and partnerships both through the process of creating the work as well as the work itself. I have asked Kim Dolva, a well-known cabinetmaker with extensive experience in the production of functional furniture, to be my partner in the development and creation of The Resting Bell. Due to the scope and ambitions of this project, other collaborations will emerge, all of which will be recognized upon completion.
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Photo: Sketch by Rob Walker. Copyright
Photo: Sketch by Rob Walker. Copyright
The Resting Bell
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The influence of special dimension and materiality determines how one acts, thinks and perceives. The Resting Bell aspires to take into account the sensorial dimensions of space, thus creating an environment ideal for self-reflection as well as collective communication. Set in the context of the UN Sustainable Development Goals, the aim is to invite groups, such as school classes to use the space to discuss and debate the goals set forth by the UN, but also the future of humanity in more general terms, beyond the 2030.
The Resting Bell deals with themes such as control, trust and destruction - matters with run as a current through Goal 17 - Partnership and Collaboration. We fundamentally believe that this is the most important goal, which without, no long-term changes are sustainable. However, it goes without saying that this is no easy challenge to meet. Conflict often results from lack of trust and communication. In the world of today, where the intrinsic values of the UN seem to be under fire and nationalism and self-interest is on the rise it is hard to tell where humanity will be in just 10 years. However with all 193 sovereign states of the UN agreeing to try to meet the goals, one thing is certain; trust, acceptance, and a willingness to collaborate, should be at the top of everyone's agenda.
The work we intend to create will reflect the ambiguous nature of this current state of affairs. We plan to achieve this by addressing the themes mentioned above, through the process of creating the work as well and the materials of which it will be made. The form of the final structure will be shaped on a model crafted from carved wood. This model, of an inverted bell, will be carved from freshly cut wood. Once carved the drying process will begin. The fibers will start pulling and distorting the original intended shape. This final, distorted shape will serve as the model for the larger structure, measuring approximately 8 meters in diameter and 4 meter in height . The final structure will have two identities - the outer, which the audience will first encounter and the inner which will serve as the space for reflection.
The outer wall will be clad in burnt shingles, using the ancient technique “yaki-sugi”. It is a counter intuitive process, whereby scorching the surface of the wood the material increases its durability and becomes stronger. Visually, this results in a black charred surface resembling the remains of a forest fire. The inner space consists of curved walls clad in thatched reeds, the antithesis of the burn wood. The curvature of the walls create an overhang, serving two purposes; Protecting the inner edges from the elements, thus aiding the longevity of the materials and creating shelter for visitors sitting on the bench with runs the full circumference of the piece. Additionally the overhang directs the light towards the center, separating light from shadow.
The thatched walls function as a sound isolator, dampening the reverberation and giving the illusions that the space is smaller than in reality. This will promote a feeling of safety in this reflective space. Naturally, a concern for sustainability is embedded in the choice of materials. Both thatched reed and yaki-sugi wood bare minimal impact on the environment with the benefit of durability. Locally sourced materials will be used when ever possible in order to minimize transportation. The Resting Bell will reveal far more the just a simple shape. This holistic work lies somewhere between sculpture and architecture. Functional yet requiring little more than ones presence. Through the contrasting materials it echo the complexities of communication, where trust and acceptance of differences can be the determining factor leading either to conflict or resolution. We invite the local community and school classes alike to make use of this unique space both to the benefit of the individual and the world at large.
Adam Jeppesen
Born 1978 in Kalundborg, Denmark.
Centered around the concept of time, Jeppesen allegorical
explores the cross-cultural challenges we face in the 21st century, including the rapid development of new technologies and spiritual depletion.
This is both expressed in his photographic works, where time leaves visible traces in the material and in his large-scale installations, where both the impermanence of life and all matter are uncovered. These are great and universal themes that have been shaped by both scientific, philosophical and spiritual narratives.
The works of Adam Jeppesen are outside our traditional understanding of space and time, but they still serve as validation in certain moments and events and are thus presented as an enigmatic depiction of reality, where the imperfect aesthetic value
elements are in focus, and where the works lie somewhere between perfection and imperfection, between creation and destruction.
