The exhibition “Unearthing Sedimented Memories” takes its starting point in the abandoned Forshammar feldspar mine, hidden in the Swedish forest, which I visited several times. Mining took place here for over hundreds of years, leaving behind a site that bears visible traces of industrial use. I am interested in the material history of feldspar, a rock that makes up 60% of the Earth‘s crust and plays a central role in glazes, clay, and porcelain. Formed over millions of years, it is quickly processed into fine powder by humans and machines – an impressive contrast between geological permanence, industrial transformation, and lasting interventions in nature. This installation is a poetic and artificial landscape from the remains of Forshammar feldspar. What was taken from the earth becomes visible again. Ceramic objects emerge from the sediments, hovering between mining artefact and organic form. They are reminiscent of archaeological finds from an industrial past and at the same time point to a hybrid future. Metal objects and industrial remains are slowly being reclaimed by nature, while the ceramic works artistically address this transformation and move between the conflicting realms of industry and nature.
