Mosi van Treijen

Thinking of spaces and their structural details. As indicators of bodily movement, these details provide maps that can be read and their contents dreamt into being. I’m currently working on a series of different mappings, prioritising the invention of unknown and intuited spaces over known spaces.

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For my graduation work, I am approaching the shack as a nexus: a point of convergence between memory, imagination, materiality, and thought. Emerging from a sustained research practice into notions of shelter and origin, this work explores the shack not merely as a material structure, but equally as a speculative model for ontology. Absent of any clear narrative, story, or specific plot points, the work instead presents a space for them to emerge. I am interested how the shack’s potential tales and histories will be fabricated from out of the very interaction it will have with the viewer. Opposed to consuming the work, I foresee the viewer inhabiting, immersed by the structural presence of the installation and from out this position formulating both an origin as a destination of the appearance they find around them. As a structure, the shack here is both imagined and imagining, and as a condition, space sculptable and sculpting.

Drawn to the haunting workings of memory, this work stands as a direct response to an earlier version of itself. The first version was made before a trip to Greece in late ’24, as a material inquiry into familiarity stretched across time. Initially recognised for its recursive gesture, it was during my stay that the work took on new meaning. Stranded at a deserted beachside close to the mountainous village of Korakovouni, I unexpectedly found the landscape densely lined with endless utility poles and their wires. Struck by this visual presence which shortly before only existed in a sculptural form and memorized image (since I had seen many of these poles through various films and photographic archives, and had equally fantasized them extensively), it was by this encounter that the earlier work seemed to have had foreshadowed its own future relevance.

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This newer version of the work is more precise, its positioning in space taking on the placement patterns seen in the landscape. Yet in keeping with its recursive nature, it simultaneously acknowledges the first version as a prefiguration of that very precision it now reaches. It is as if the initial work carried an intimation of its own future. This causes me to wonder about memory as an active, shaping force. Can memory, although rooted in the past, be considered to have an invisible trajectory that is future-oriented? And if so, does that mean there exists a will to memorization as an innate characteristic of memory itself?

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Within the installation, an accompanying drawing functions as a schematic guide. Through a floating symbolic logic, it points at the entanglement of geographical and psychological orientation. Yet instead of differentiating between, it is concerned with the potential of situating oneself between both.

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