Close your eyes, listen. Experience your surroundings in that mysterious, intimate and slightly secret way that happens when you shut off your sight.

The forms you see are not the same as the forms you touch. Without sight, what you touch is bigger and more complex than that you experience through sight.

Blunda, lyssna. Upplev omgivningen på det där mystiska, intima och lite hemliga sättet man gör när man stänger av seendet.

Den form du ser är inte samma form som du känner, det du känner är större och mer komplext.

Landskap #1 – #8 är taktila bilder som bygger på fotografier. Bilderna är 120 x 60 cm och uppbyggda av sex olika strukturer som var och en representerar himmel, skog, berg, grus/asfalt, gräs/mark och vatten.

Landscape #1 – # 8 are tactile images from photographs. The images are 120 x 60 cm and consists of six different structures that represent sky, forest, rock/cliff, asphalt/gravel, grass and water.

Hur strukturerna görs / How the various structures of the images are made

Vi berör och blir berörda. Av omgivningen och av oss själva.

Låt bli att vardera. Känn, upptäck.
Blunda – och låt din omgivning expandera till det den är.

We touch and are touched, of our surroundings and ourselves.

Experience without judgement, feel, discover..
Close your eyes, expand your surroundings.

En videopresentation av utställningen / A video presentation of the exhibition

På vernissagen i Nacka konsthall spelade jazzbasisten Torbjörn Zetterberg en improvisation till verket Länet.

At the opening in Nacka Art Gallery the jazz musician Torbjörn Zetterberg (bass) played an improvisation based on the piece The County.

'Listening is a receptive, particitative activity in which we allow certain qualities of the being to whom we are listening to resound within us. The functioning of the eye is quite different. Instead of this built-in contemplative quality, there is a kind of pragmatism entailed by the eye’s demand for distance between us and the object of our gaze. The eye asks us to engage in a practical, instrumental relationship to the world, whereas the ear seems to invite us to overcome our separation from objects that the eye locates ’out there’ and to involve ourselves with them in a more participative form of knowing.'

Jeremy Naydler, The Future of the Ancient World