Solo exhibition in Kosminen, Helsinki. 2021
Installation view. Kosminen, Helsinki (FI). 2021
Installation view. Kosminen, Helsinki (FI). 2021
Shaped by clingy hands. Porcelain, glaze. 110 pieces, dimensions variable (2020-2021)
Detail of Shaped by clingy hands. Porcelain, glaze. 110 pieces, dimensions variable (2020-2021)
Shaped by falling bodies. Soap, metal. 3 pieces, 90x45cm (2021)
Shaped by falling bodies II. Soap, metal. 90x45cm (2021)
Shaped by falling bodies I. Soap, metal. 90x45cm (2021)
Detail of Shaped by falling bodies I. Soap, metal. 90x45cm (2021)
Greasy pole. Metal, grease, foam, concrete, climbing ropes. 300x40cm (2021)
Slippery slope. Soap, porcelain, anti-slip mat. (2021)
Imaginary problems. Series of 6 drawings, marker on paper. 21x29,8 cm (2021)
Imaginary problems. Series of 6 drawings, marker on paper. 21x29,8 cm (2021)
Fall flat flat fall. Injekt print on Fine Art paper. 30x20cm (2021)
Cuc/ca/gna. Concrete poetry, paper clips. (2021)
Live reading of Cuc/ca/gna. 15 min. Ph by Helen Korpak
I remember waking up on a Sunday morning to my twin’s voice talking to my parents in the room next door. I must have been 7.
When I managed to join them, his monologue had just ended.
I remember my father, a bit surprised, a bit amused, telling me how my brother had spent a good half an hour weaving apparently distant images and ideas into a cohesive speech. “He started by talking about a dog and we ended up between lava and volcanoes” he said.
I remember spending the whole morning that day finding possible paths to connect dogs and volcanoes
To slide between thoughts and to connect mental dots became one of my favorite pastimes and soon a way of thinking, of moving, of seeing.
I recently learned that a cognitive slippage is a mild form of disconnected thought processes or loosening of associations.
I must be constantly tumbling.
“a slash is a dash is a splash” is a scenography for a play, a training room, or perhaps a leaky text that escaped the 2 dimensions of the page.
Playing with different degrees of abstraction, Laura Cemin literally translates puns and idiomatic expressions into material objects, while simultaneously creating a new abstract language. A sequence of bodily traces, exhaled sounds and physical impressions to allow slippages away from the straight, the vertical, the controlled.