“Days (were) only spaces between journeys, journeys only landscapes between dreams.” (Danilo Kiš, Garden, Ashes) The hometown, the neighbourhood, the street, the home, have become stretchable concepts into which several different spaces can be inserted. On the other hand, external space has constantly accumulated objects, materials, and waste. Natural and urban landscapes in endless transformation into a dystopian landscape, in a slow and persistent melting into some possible future.

What is home if it’s not in the house? If it’s in boxes left unpacked for 15 years, if it always has yet to happen, if it’s not a place – what is it? Where is it? In the absence of walls, the backbone of a refuge becomes the first images, sounds, lights. Starting from personal memories on one side, and Gaston Bachelard’s thesis that “a house constitutes a body of images that give mankind proofs or illusions of stability … the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace” (Gaston Bachelard, The Poetics of Space), the exhibition “The Third Shore” explores landscapes of memory versus external ones, and the impression and perception as a boundary line where these two worlds meet. It is a documentation of an attempt to rethink, create, and/or erase the connections and boundaries between daydreams, dreams, memories, perceptions, assumptions, the future, reality, and imagination.

The exhibition also addresses questions of the correlation between space and its visualities and sounds, and the possibilities of interpreting and reproducing the image in various media. All the works echo one another, simultaneously reflecting and expanding. The spatial installation is built step by step, using the previous move as the starting point for the next. Control and the lack thereof is the principle that defines the process—the final form of the work is determined by the accidents and mistakes that happen along the way. By juxtaposing opposite phenomena, placing them in seemingly separate rooms, I attempt to condense them into one space—fluid, liminal, and ambiguous. The landscapes flow into one another, the internal into the external, the window into the wall, the wall into the landscape; sounds swim through the gallery, sparks become dashes on paper. Times of day shift: daylight prevents clear observation of certain places; darkness prevents the observation of others. The third shore, the third place from memory, transforms into an intimate house.