Palisaden Tahnee Godt
“We all end up in the clay.” (James “Son Ford” Thomas)
Within Palisaden, Tahnee Godt explores a contemporary concept of monumentality and the construction and deconstruction of memory and remembrance through material.
Arrangements of works form fences, shields, grids, webs, columns and struts, and define their individual boundaries.
Tableaus of clustered ceramics, amourphous sand casts, cast and mold-blown glass and wooden structures oscilliate between the desire to dissolve into the world, and the urge to defend their own borders, suggesting a sense of time that is somehow elegiac – maybe they are about being lost in time. These forts of branches, little arms and other amourphous partitions point to their inherent ambivalence of fragility and immortality and thereby end up being completely harmless, unable to scare or protect – palisades devoid of any function. They become fragmented corpora reminding of ruins and sceletons. And yet they keep up their defense, or do they reach out to be rescued?
All exhibited pieces have their origin in the earth and sand and out of their fictile primal state manifest in cold, hard bodies. The techniques that shaped them – digging out molds, casting into negative space, subtracting from a bigger body – allude to the synergy of presence and absence.
Palisaden encounters the passing of time with everlasting and enduring materials yet these monuments are declaring their fragility, opposing any bold approach.