Mathias Kruse Jørgensen
In the idea of a world where the division between science, nature and culture is constantly shrinking, as our way of living is persistently merging them, we can easily be baffled by the notion that meaning is no longer something we can take for granted. Not in our life and not in the things we create. Therefore, this very reality has become the content of Joergensen’s work.
Through his practice he insists on testing ‘taken-for-granted‘ ideas of the world against the world itself in an attempt to challenge the criteria of which the norm exists. He questions the relation and separation between humans and the things we (intentionally or unintentionally) put into the world. Objects. Materials. Technologies. Diseases. Cars. Plastic. Cancer. Ideas of truth. Things that carry meaning beyond what is visible — beyond the reason for their existence — and so his practice becomes a process of examining how these things can tell us something about ourselves. A search for meaning will always be endless and never universal, as a view from nowhere does not exist, Joergensen’s work strives to further challenge his own as well as others’ pre-existing ideas of criticality and correctness connected to the subject.
Instead of assuming that truthful thought is to be found in one place, Joergensen aims to create work that sits in the intermediate between science, nature, culture and himself, by linking deep knowledge-based research with the poetics of the subject. Executed through various mediums (photography, print, sculpture, installation, video etc.) to test the indexicality of both the mediums themselves, titling, materialities and the objects at use, the work arises from somewhere in-between documentation and abstraction in an attempt to rediscover the idea of meaning.
In-between the blurred lines of form and matter, object and representation, documentation and abstraction plastic possesses meaning beyond what is visible to the human eye. Beyond the use of it, beyond its compromised reputation and beyond its apparent green successors. In order to be able to challenge these many facets of this material, Joergensen’s work insists on not being preachy as well as avoiding to be hampered by social morality and the deceptive feeling of correctness. Because in shaping the aesthetics of the everyday a divergent reality emerges — a reality that perhaps can tell us something about who we are. Or who we think we are.