Doris Hardeman

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Fit, installation view from duoshow at Urgent Paradise with Baker Wardlaw, 2020, Photo Jerlyn Heinzen
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Doubletrouble, detailshot from duoshow at Urgent Paradise with Baker Wardlaw, aluminum, 2020, Photo Jerlyn Heinzen
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The weariness of a wet cloth, detailshot from installation at HEAD, 2019, Photo Jerlyn Heinzen

The interests I address in my practice center around the idea of ageing as a transformative system; a system which affirms certain social patterns and structures in society. Especially the transformative state of adolescence is present throughout my work; the state when shifting from pre- to post- puberty, from naivety into economy, the fantasy into the arbitrary, and so on. This shifting to-and-from the ‘in-between’ becomes a prototype of how human interaction can be seen through the lens of transformation. The in-between then becomes a territory in which the fantasy can roam. This seems to me an interesting point of departure as it balances on the borders of personal freedom and uninhibitedness as well as the pre-commercialized structures of our society. The heterotopic betwixt space creates an abstraction that allows a certain distance which is necessary to rethink or re-imagine our place in society.

The wolf turns to the dog and says, “You have a nice roof over your head and you have food, but... What is that thing doing around your neck?” The dog replies to the wolf “Oh this? That is my collar.” -La Fontaine

My work departs from the Zone of Fantasy; the heterotopic space that balances on the borders of personal uninhibitedness and the pre-commercial structures of our capitalist society. As in Fontaine’s fable it’s through the anecdotal that I attempt to tap into the absurdity of our preconceived desire to conform to certain norms. Through storytelling I search for a means to reflect on societal matters, intertwined with mythical references set in contemporary frameworks. With an almost unrecognizable subtlety I reflect on the formatting frameworks from childhood in an attempt to trigger the tacit knowledge of the spectator. Stripping objects from their original context stimulates the speculative power of one's own imagination and allows space to envision an alternative look on both the work as one's reality; one that is not persé subjected to cognitive logic and reason.

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