By focusing on the sculptural and painterly qualities of the domestic through temporal processes that activate change, decay and even disappearance, Edith Dekyndt brings traditional formal concerns of artistic autonomy “down to earth”. The consequences are profound, focusing on questions of knowledge, perception and reality by engaging the viewer’s fascination and empathy rather than ‘objective’ analysis. While her minimalist approach, which isolates materials undergoing chemical and physical transformations, invites comparison with scientific processes, her focus is resolutely ‘subjective’, oriented not towards results but towards mysterious occurrences. In her work, things come to life in a way that breaks down the ‘object-subject’ debate.
The Memory Of Everything In The World, 2022
