This work explores the fascinating & curious characteristics of various feathers. As with many of Gromoll’s works the foundation stems from a large collection which is displayed on the second floor. Connected through only a hole in the ceiling, the underlying room is the stage for a brief 5 minute performance.
A selection of feathers is intuitively chosen and released to the lower room. Detached from their natural purpose to serve flight, the feathers are now able to show their own unique personality. As they dance down from the ceiling a magnificent and ethereal play reveals itself. The feathers’ descent is guided by what once was its natural function, its remaining form as a separated entity in combination with what seems like the will to express its newfound identity.
Eventually this play comes to conclusion as an image on the floor shaped by the chosen feathers and their paths.


Feathers

Within cocoon a selection is shown of an ongoing process in which deceased insects are gathered throughout daily life. A fragile husk is all that remains from many of these creatures, yet upon closer inspection immense beauty may be found in their transient physical presence.
Through adopting the insects into this colony of unseen passing, a new stage in the post-lifecycle is set in motion. Encased in a thin and vulnerable glass cocoon, they are offered temporary protection & preservation from outside influences, human or natural alike.
The glass cocoon as an intervention allows for the short life of each of these individuals to resonate beyond their own time. An opportunity for us to take a more attentive look at these tiny beings which account for the majority of life on the planet.


Cocoon

“Stones” shows the results of various journeys and walks on which stones where collected. Driven by intuition and Gromoll’s sense of natural beauty these particular objects displayed a true sense of individuality.
The act of balancing each stone on a single nail elevates them beyond their material presence, becoming entities who act as guides in this newly arisen landscape. Only with attention to ones surroundings and light footing will visitors be able to navigate this delicate world.

Stones

Within a diaframe the decelerated proces of a decaying flower is contained. Over a period of time we may encounter this very same flower at different stages. One of these moments is captured in a still, enlarged and illuminated in order to depict & enhance its beauty and fragile nature.


Flower

A Life Without Form is an exploratory research into the origins of seashells, their economic & cultural value throughout history and the long-standing tradition of seashell collecting.  Seashells have been part of countless cultures and their use arguably predates the timeframe of what is commonly considered to be part of modern human history. Ranging from functional items such as currency and jewelry to being worshipped as symbols of wealth, fertility and strength. Their most prolific appearance in Europe came during the 16th century as a result of the colonial trade, exploration and exploitation by the Dutch East India Company (VOC). Seashells as an exotic good became widely admired for their natural beauty, mathematical properties and as a reference towards god as well as gaining scientific noteworthiness through the study of Nature. Instigating a craze amongst the upper class of society, conchylomania caused a rapid adoption of seashells into private collections. Over time our affection for the aesthetics and beauty of seashells is still very much alive, yet their social value as a symbol of extreme wealth has shifted towards the realm of trinkets and tourism, a common good even used as a building material.  A Life Without Form consists of a series of 38 display cases in various sizes, containing a casting from the inside of a shell on one side. The unique shape of the inner chamber is directly linked to the former inhabitant and represents the living force that once resided inside. Across from this the corresponding seashell is presented, grounded down into powder. The act of turning these beautifully shaped and patterned objects into powder is intended as a reference to the natural processes of decay and transformation and a direct response to the ambiguity that comes with the traditional methods of preservation & collecting of seashells, which disregards or even results in the killing of the animal itself. As such it is also a reminder of the unseen living animal behind the shell, and how its importance within natural ecosystems is often overlooked.  Additionally A Life Without Form as a title & work is intended as a reference to Damien Hirst’s “Forms Without Life” which is characterized by its glass cabinet containing a range of ornate seashells from Thailand. In direct contrast to this, A Life Without Form doesn’t display any original seashells at all, but rather the highly sought after objects of desire & prestige are removed from the equation altogether. As such A Life Without Form is intended as a critical gesture on the concept of collecting itself. A remark on the behaviour of the past while simultaneously questioning our modern relationship, authenticity and perspective when dealing with natural objects of desire.

A Life Without Form 

A bird’s universe is inspired by the discovery of three deceased birds and offers a curious perspective on the natural cycle of life. On this journey and playful research I explore the transformation of what remains from their physical bodies as well as their spirit. By questioning as to where their lifeforce and energy may have gone after the moment we call death and how this relates to the remaining corporeal shell containing the minerals of life. The three birds, simply specified as A, B & C, were found at the Cigar Factory of Vossen Breuers in Tegelen [NL] during my residency at Destination Unknown 2021. On three separate locations within the building, also corresponding and indicated with A, B & C, the remains of each bird gave a small glimpse into the liveliness they once carried inside. Their presence is barely noticeable at this time, as we are confronted with the fact that their short and fleeting existence has already come to an end. However through A bird’s universe I aim to shine light on alternative views and ways we can interact with the subject of mortality & death. Countering common beliefs and fears but also with a hopeful outlook to inspire a deeper sense of understanding and harmony. 

A: Spiral  
life, creation, birth and rebirth, evolution, awareness, growth and development

Spirals are a recurring phenomenon that we may perceive in many different facets of life & the universe. Being one of the most ancient and universal symbols, it is found within many of our earthly cultures and carries with it strong spiritual beliefs & claims of near mystical properties. To this day it is used as a symbol for the mystery of birth & femininity but also resembles the path of enlightenment, a sense of divine knowledge and inner harmony. The spiral has a pulsating nature, its rings steadily grow outwards in a characteristically perpetual movement which is almost synonymous with the universal pattern of natural growth and evolution. Quite literally it is in fact to be found within the movement of electrons and the physical reality we perceive, such as in the shape of a snailhouse or the leaves of a fern. As a gesture on the lifeforce of bird A the minerals of his earthly body alongside a vital component for sustaining life (water) were combined and placed into a hand-blown glass spiral. The water in this case is a representation of wisdom, peace, and purity. A formless reflection of spirit and the interconnection between all creation.   

B: Hourglass 
time, motion, rhythm, relativity, past, present and future 

Throughout the ages we as humankind have adopted a concept of time in which it is presented almost as a resource, precise and predetermined, in close connection to our fast-paced societies and every day hurry. The measuring tools we use provide a collective plane, however the experience of time itself is also very much subjective and personal in nature. We may also question how time is interpreted by other beings. For instance bird B may have lived for up to 5 years by our notion, but it was a full lifetime from its point of view nonetheless. For this second intervention we look towards an iconic symbol for time, the hourglass. The ashes from bird B were placed inside an hourglass, the object no longer counts time within the known cultural system, but rather we are offered the opportunity to witness a full lifetime passing by in the blink of an eye. Through Bird B we may become susceptible to other perspectives on both the life of this small bird, but also reflect upon the relativity and subjectiveness of our own lifespan. Revisiting our general beliefs on time, our view on life itself, potentially embracing time as a sensory experience wanting us to feel, listening to our primal instincts and observing natural cycles.   
C: Marble Run 
movement, matter, energy, separation & oneness, transformation, consciousness 

The reality we experience may be viewed as a three-dimensional web of matter held together by unseen forces and energy currents. Guided by what we call our consciousness or soul we move around within this vessel, a physical manifestation, our body, which allows us to experience and interact with the physical world. The separation we feel is a result of space and time, we are adrift as individuals, not lost, but momentarily detached from our origin and each other. However we are all born from the great consciousness of the universe, and when we pass away our physical body merges with the environment while our spiritual essence flows back to the unknown. It is a beautiful play of constant transformation and movement of matter & energy, flowing back and forth, shaping and creating physicality & life. The Marble Run is a collaboration with Bird C intended as a reflection on death, approaching it as a step into the cycle of continuation and the circle of life rather than the commonly feared definitive “end”. A plea to become sensitive to the oneness within the universe. As such the body of bird C forms the basis for several new physical manifestations. Within eight marbles its mineral remains are contained, we find the ashes as small swirls, the movement of creation encased in glass. Presented in a circular shaped marble run the audience may interact and play with these marbles. Creating a new motion and flow of energy to revive bird C’s presence. A reminder that transformation brings about the potential for life to manifest itself again in order to experience reality anew from another perspective. By doing so we may all play a part in expanding the collective knowledge of the universe. 

A Birds Universe

During my time in Bali [Indonesia] I encountered many daily offerings locally known as “Canang Sari”. This practice of giving thanks stems from a local combination of beliefs such as a distinct form of Hindu worship, animism, ancestor worship and reverence for Buddhist. The “Canang Sari” can be made for all kinds of reasons and occasions. Traditionally a little basket generally consisting of banana & coconut leaves is handmade everyday and holds the offering. The often colourful and lively looking offerings may be found at home or in the immediate vicinity to your house. At work or in the main street. At the front door or in the garden. They are placed and prayers spoken in order to please the gods and bring luck & good fortune for people, other living beings, this specific location and its energy.

In its current iteration local plants, candy & other natural objects are brought together with several traditional aspects in order to find a balanced mix between the present western culture and the offerings eastern origin. By combining our own environment with the experiences and the mindset encountered in Indonesia, Canang Sari intends to instill similar gratitude and respect towards our surrounding world. To inspire a different approach and connection with nature in both a physical and spiritual sense.

The most recent offering presented at TAC Eindhoven is a personal take on what a Canang Sari may bring to a social event such as this exhibition and wishes well upon all present artists, visitors and the space. 

Canang sari (ᬘᬦᬂᬲᬭᬶ) – daily offering  
Canang – palm leaf basket

kawi (old javanese) language – ca (beautiful) nang (purpose)

Sari (balinese word) – essence
 

Canang Sari

Secluded from the city life ventilation pits gather layers of decaying leaves and other small debris swept around by the wind. Enlarged images of found matter depicting the essence of its surroundings were printed on very thin paper and soaked in a natural glue (water, sugar & flour). Being exhibited in these sheltered spaces caused an accelerated process of decay & consummation as the tiny inhabitants of this subsurface world feasted on the images. Slowly merging back into this very habitat a cycle is fulfilled.

Habitat

In this installation finely powdered wheatgrass is used, on a circular shaped drum of roughly 1,5 meters wide the material is distributed evenly with a sift.
Visitors are invited to tap on the membrane, causing it to vibrate in various and alternating rhythms. Depending on the intensity and strength applied the powdery surface starts to shift and clusters are formed, ever changing patterns appear as the material nodes dance across the canvas.
Alongside the visual playfulness, a part of the powder rises into the air, a faint yet peculiar scent of pure wheatgrass spreads throughout the vicinity.

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Kim Gromoll