Category: Uncategorized

Läbi Läve: Cam Peeters ja Ola Lewczyk palverännakust, rituaalidest ja oma tee leidmisest

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Cam Peeters on muusik ja kirjanik, kelle loomingus seguneb äärmuslik helimoonutus, arhiivisalvestised ja sügavalt isiklik lüürika. Läbi kõige, mida ta loob, jooksevad korduvad teemad: võnkumine, surm, taassünd ja vabaduse otsing.

Ola Lewczyk on kunstnik ja loomeinimene, kelle praktika juured peituvad käsitööoskustes, rahvakultuuris ja materjaliuuringutes. Töötades vaha, savi ja teiste looduslike materjalidega, uurib ta seoseid inimese ja kõiksuse vahel. Valguse element, sageli tule või päikese kujul, juhib tema praktikat, ühendades vaikiva mälu, mateeria ja müüdi.

Kaks kunstnikku kohtusid Londonis Goldsmithsi ülikoolis õppides ja on sellest ajast saadik arendanud pikaajalist loomingulist koostööd. 14. juunil esitlevad nad ühist, multisensoorset installatsiooni, mille inspiratsiooniks on 13-päevane palverännak, mille nad läbisid üle Apenniinide mägede Roomani.

Te tegite koos palverännaku eelmisel aastal. Mis teid sinna kutsus?

Me oleme alati koos palju kõndinud, kuid see oli seni meie kõige pikem teekond. Idee oli jõuda Aadria merest Vatikanini Apenniinide kaudu 13 päevaga. Eelmine aasta oli juubeliaasta, mil Vatikani pühad väravad avatakse, ja see toimub ainult korra 25 aasta jooksul. See oli ka väga isiklik küsimus, mis puudutas meie suhet kristlusega, vana-rooma ja paganlike traditsioonidega ning rituaalidega üldisemalt. Selle rakendamine oma elus, rituaalidele, mida me oma elus planeerime, ja palverännaku tempo aeglus, erinevalt tavapärasest mugavast reisimisviisist.

Projekt keskendub sellele, mis kõndimise ajal aina uuesti esile kerkisid: piir looduse ja moodsa maailma vahel või kristluse ja palju vanema rooma maailma vahel. Sealt jõudsime ka ukse ideeni, mis viis meid Januseni, kes on kahe näoga rooma jumalus, kes valvab läbipääsusid, väravaid ning algusi ja lõppe. See sai töö keskmeks.

Kuidas see kogemus teie loomingusse üle kandus?

Teel kordusid pidevalt mitmed sümbolid: kellad, ristid, ületamine ise. Inimesed tegid teele kividest hunnikuid, et märkida teed järgmise rändaja jaoks. Need väikesed märgid jäid meid saatma. Tekkis ka lummatus lõhnadest ja sellest, kuidas see mäluga seostub. Teatud lõhnad jäid kindlate hetkedega seotuks. See viis lõpuks viiruki valmistamiseni, mis ühendus ka projekti ülejäänud osaga, kuna viirukit on rituaalsetes ruumides kasutatud tuhandeid aastaid. Viirukit põletati kristlikes kirikutes, mida me läbisime, kuid samuti rooma jumalate auks juba palju varem. Ja selle lõhna kõrval jäi meelde ka midagi tavalisemat, näiteks sünnipäevatordi sidrunilõhn või tugev kohv, mida me jõime igal hommikul. Pühalik koos millegi täiesti tavalisega, see kontrast tekib pidevalt. Teekonnal oli mõlemal võrdne tähendus, ja see on ka kogu selle asja mõte. Igapäevaelust võib leida oma väikseid märke pühadusest.

Mida te välja panete?

Tahame luua kujuteldava rituaalse ruumi. Januse kadunud templit Rooma Foorumil pole kunagi leitud. Selle ainus visuaalne jälg on vanal rooma mündil, mistõttu saame vabalt luua kujuteldud mälestused. Teame, et sellel oli kaarjas uks ning et selle avatud uksed kuulutasid sõjaaega, samas kui suletud uksed tähendasid rahu. See tundub praegu eriti asjakohane, küsida ukse avanemise kohta. Tahame, et inimesed kogeksid ruumi, mitte ainult loeksid selle kohta. Seetõttu toome kokku kõik meeled. Niimoodi saab ruum kuuluda ka külastajatele endile. Loodame, et see võimaldab inimestel leida oma osa kollektiivsest kujutluspildist mis on säilinud pühalikkusest või sellest mis selles avaldub.

Avatud uste päeval toimus ka antropoloog Francisco Martínezi töötuba aseemilise kirjutamise teemas. Osalejad õppisid tundma aseemilise kirja ajalugu ja proovisid praktikas oma kirjutisi luua.

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Crossing Thresholds: Cam Peeters and Ola Lewczyk on Pilgrimage, Ritual, and the Art of Finding Your Way

Cam Peeters is a musician and writer whose work moves between extreme sound distortion, archival recordings and deeply personal lyricism. Recurring themes of oscillation, death, rebirth and the search for freedom run through everything they make.

Ola Lewczyk is an artist and maker whose practice is rooted in craft practices, folk culture and material research. Working with beeswax, clay and natural materials, they explore the connections between the human and the other. The element of light, often in a form of fire or the sun, guides their practice connecting tacit memory, matter, and myth.

The two met while studying at Goldsmiths University in London and have since developed a long-standing creative partnership. On June 14th, they present a collaborative, multi-sensory installation rooted in a 13-day pilgrimage they undertook together through the Apennine mountains to Rome.

You did a pilgrimage together last year. What drew you to it?

We’ve always walked a lot together, but this was the longest trip so far. The idea was to cross from the Adriatic Sea to the Vatican through the Apennines in 13 days. Last year was a Jubilee year, in which the holy doors of the Vatican open. This only happens once every 25 years. It was also something deeply personal, questioning how we relate to Christianity, to older Roman and pagan traditions, and to ritual in general. Applying it to our own lives, to the rituals we plan in our lives and the slowness of taking a pilgrimage route, rather than the usual easy travel mode.

The project is really about what kept coming up while we walked, the boundaries between the natural and the modern world, or between Christianity and the much older Roman world underneath it. And then there’s the idea of the door, which led us to Janus, a two-faced Roman deity of thresholds, gates and beginnings and endings. That became central to the work.

How did the experience translate into your work?

A lot of symbols came up repeatedly along the way, bells, crosses, the act of crossing itself. People would stack stones on the route to mark the path for the next person. Those little improvised signs stayed with us. There was also this growing fascination with smell and how it connects to memory. Certain smells became tied to specific moments on the journey. That eventually led to making incense, which also tapped into the rest of the project since it’s been used in ritual spaces for thousands of years. Frankincense was burned in the Christian churches we passed through but also by the Romans for their many gods long before that. And then alongside that something much more everyday, like the smell of a lemon from a birthday cake, or the strong coffee we had every single morning. Something sacred next to something completely ordinary, that contrast keeps coming back. On the road it both felt equally meaningful, and that’s kind of the point. You can find your own sense of the sacred within daily life.

What will you be exhibiting?

We want to invoke an imagined ritual space. The lost temple of Janus on the Roman Forum was never found. The only visual record of it is on an old Roman coin, so we can dive freely into an imagined recollection. We know that it had an arched door, and that open doors announced times of war while closed doors meant peace. That feels relevant right now. To question the door opening. We want people to experience the space rather than read about it. This is why we bring all the senses together. This way the space becomes others’ too. We hope it allows people to tap into their side of this collective imagination of what remains of or appears within the sacred.

On the open doors day, there was also a workshop by anthropologist Francisco Martínez about asemic writing. Participants learned about the history of asemic writing and tried their own writing in practice.

Photos of the open doors day on June 14th 2026 taken by Ott Kattel

Becca Green is a performance artist from Los Angeles, based in Tallinn. A graduate of Estonian Music and Theatre Academy’s CPPM (Contemporary Physical Performance Making) master’s program, she works at the intersection of dance, physical theatre, and performance art currently researching verbatim text, photography, and whether intimacy can be mechanically reproduced.

Kirte Jõesaar is an Estonian performer and choreographer who met Becca during their shared studies at CPPM. Rooted in dance and contemporary performance, she collaborates with Becca on research-led work that exchanges personal histories between bodies and voices. 

Daria Luchinina is a sound artist whose sonic landscapes thread through the project. 

The following interview was conducted with Becca and Kirte during their residency in April 2026.

What are the themes you’re currently researching?

Obsession, infatuation, love, and the feminine nature of those altered states. What happens in your body when you’re in love, or when you have a crush? How does that relate to femininity and to communing with other women? The work draws on personal journals and explores what happens when very intimate, private texts are transferred onto another body or another voice.

How does that exchange work in practice and how does it feel to have someone else speak something that was only ever meant for you?

We brought our own private journals, writings from teenage years, never intended to be shared and began reading them aloud, to each other and as each other. What struck us was hearing something and thinking: I wrote almost the exact same sentence. There is a physical intensity to it; the fear of someone else speaking your most intimate words out loud, but also a kind of pleasure, even relief. Something so deeply personal turns out to be universal. Can you falsify intimacy in a way that it becomes real? That is the question we keep returning to.

We also collected photos from people. Images with an ex-partner that still hold something, a feeling or a memory. We then recreate those photos as precisely as possible: same angle, same expression, same composition. The process itself is very mechanical. Holding a pose, laborious and deliberate, yet the result carries a surprisingly similar emotional charge to the original. You look at the photo and begin imagining what they were saying, what they were thinking. You see a spark in their eyes and try to find that same spark in yourself. Can a reproduction hold the same emotional quality as the original, or does it create something else entirely, something uncanny? We don’t know yet. That is exactly where the research lives.

How does sound fit into the work?

We’ve been collecting songs from people. Breakup songs, the album someone played when falling in love, a mixtape made for an ex. Objects that hold memory inside them. Daria is working with these materials to build a soundscape that responds to the same ideas. On the 30th it will all come together: movement, text, and sound.

What has this residency offered you?

Time. In daily life there is always pressure to produce, to progress. Here, a concept gets space to breathe and grow on its own without urgency. We’ve been swimming in the topic: talking, gossiping, making connections, slowly discovering which specific directions we actually want to follow. Time is the biggest gift you can give a creative process. And it’s not so different from a relationship, really. Time is what everything needs.

On April 30th at, starting 20.00, we celebrate the opening of the summer season at Copper Leg.

Artists Becca Green, Kirte Jõesaar and Daria Luchinina will perform pieces created during their residency.

We will also be joined by our former resident and acclaimed sound artist Lauri Lest. Lauri’s primary tools are found objects, vibration speakers, lights, and audio and video processing software. His work is characterised by melancholy, states of being, and experimentalism.

And in true Walpurgis Night spirit – we’re lighting a bonfire! 

Millie Player is an artist living and working in Edinburgh, Scotland. Her practice drawsher to leftovers, sometimes food, but also whatsapp archives, sentiments, or what other people write down. The act of disappearing interests her, or perhaps making things last.Their work tends to sit in between spaces of drawing, photography and installation.They think a lot about phones, light and types of paper.

She has participated in numerous group exhibitions across the UK and was a memberof the 2023-24 Collective Studio co-hort at the Newbridge Project. Upon graduating,their work was purchased by Edinburgh University’s Centre for Research Collectionsand she was awarded a study scholarship by the Universität der Künste.

 

Tell us a bit about who you are and what you do.
I was born in London and moved to Edinburgh to study at an art school, where I’ve livedfor about 8 years now. I run a space called Embassy Gallery – an artist-run organisationthat’s been going for over 20 years. We put on exhibitions, events, and workshops tosupport early career artists. Everyone who works there is an artist themselves, whichmakes it quite a unique place. It has a lot of DIY roots, but it’s grown into somethingmore established over the years. Alongside that, I have my own practice, workingmainly with photography, drawing, and film.

 

What kind of ideas do you explore in your work?
A big topic for me is memory and how we preserve traces of a person. A lot of my workcenters around my grandmother. She lives far away, so our relationship is mostly builtthrough distance. She texts me constantly and sends photos through WhatsApp, whichautomatically saves images on my phone. At first, I thought it was strange to have allthese images I didn’t take and had no context for, but they became really important tome because they are so her – and honestly, they’re often very funny. There’s somethingtouching about watching an older person navigate technology in their own way. So Itake those images and reproduce them. Sometimes through contact printing, where Iliterally lay the phone face-down on photopaper and let it leave a mark or trace. Othertimes I make drawings from them, picking out the parts that feel meaningful.Photography feels very instant, but drawing takes time, so it becomes a way of reallysitting with an image rather than just scrolling past it. I also have negatives and printsmade by her late brother, who passed away when I was young and who was just gettinginto photography. Some only exist as negatives and some only as prints. I’ve beenthinking about what it means to reprint and preserve those – trying to piece togetherwho he was and what mattered to him through what he chose to photograph.

 

Have your surroundings here influenced your work?
It’s hard to ignore where you are when you’re making work. I found a handwritingpractice sheet under a cracked frame in the main room, which immediately caught myattention. I’ve always been fascinated by how the structure of language gets embeddedin you as a child. It shapes how you think and communicate for the rest of your life. I’vebeen experimenting with printing those letters onto Post-it notes and leaving them out inthe sun. Cheap Post-it paper has poor ink quality, so the color gradually bleeds awayover time, which works in a similar way to how photographs fade. I also foundenvelopes full of old folk riddles, some dating back to the 18th or 19th century. Readingthrough them and seeing how completely stumped my friends were by them made methink about how much knowledge and humour is tied to a specific culture and time.Something that was once common sense becomes a mystery from the outside. Andthen there was a soviet agriculture magazine filled with black-and-white photographs ofcows that are oddly surreal.

 

What will you be showing at the end of your residency?
A mix of photographs, drawings, and some installation-based work that respondsdirectly to the space itself and the materials I’ve found and worked with since beinghere. It’s been a very research-driven time, and I hope the exhibition reflects that.

Exhibition photos by Ott Kattel

In the beginning of February, Ukrainian land-art artists Marharyta Zhurunova and Bohdan Lokatyr arrived in Copper Leg residency, taking part in the project for Ukrainian creative professionals. Project is organised by LOORE network and funded by Nordic Culture Point.

Their work will be presented on March 21^st together with Ruta and Ruslan Trochynskyi’s concert and fine Ukrainian cuisine.

Could you briefly introduce yourselves and explain what you do together? 

I’m Marharyta Zhurunova and my partner is Bohdan Lokatyr. We are from Ukraine and we create land‑art and site-specific installations that interact with the environment. 

How did you start working together? 

I grew up in Vinnytsia city, where every winter a land-art festival called MITHOGENESIS took place. I used to be there as a viewer or a volunteer. Bohdan and I studied together at the Academy of Printing, in the same course. During our second year, over winter holidays, I invited him to try participating in MITHOGENESIS as an artist. We liked it, everyone liked our work, and that experience launched our collaboration in 2015. 

When you create a piece together, do you have fixed roles, or do you just do what’s needed? 

Usually, we talk a lot and discuss ideas. Our conversations eventually spark concepts, so it’s hard to say who originated a particular idea. It’s nice that we are partners, because our ideas often start with simple chats. 

Also, I usually document the process with photos and video, while Bohdan handles most of the engineering, which he has a talent for, and together we create the works. 

Does the landscape of a new location inspire you? 

Yes. We rarely plan a project in advance. The  terrain, weather, and light usually decide what will happen. New site is especially exciting because it opens up many new possibilities for us. 

Does your home country influence your work? 

Absolutely. Since the full-scale invasion, almost all of our projects relate in some way to what we have experienced in Ukraine and how it affects both the landscape and ourselves. Even when we try to step away from it, Ukrainian identity is always present and continues to shape our practice 

How has the war affected the art scene in Ukraine? 

Despite enormous difficulties, the Ukrainian art community remains active and resilient. New art spaces, events, and programs keep emerging across the country, and Ukrainian artists are increasingly active both abroad and at home. It feels like our responsibility. The pressure of war has, in many ways, intensified our creative drive – Ukrainian art is still growing. 

What are your future plans, both artistically and personally? 

We live in very precarious times, so plans tend to be fragmented. We have an upcoming residency at Indiana University in the United States and hope to realize a large installation in Kempele, Finland, this August. Bohdan is also completing his PhD this year. After that – well, we’ll see what comes next. 

Is there anything you’d like to add to conclude our interview? 

The light here is extraordinary – very different from anywhere we’ve worked before. We’re excited to create installations that respond to this quality, especially in dialogue with the snow. We hope people enjoy the work and the unique atmosphere of this place. 

Interview and photos by Ott Kattel

See you in Copper Leg!

Join us on Saturday, 22nd November
2pm–5pm
at Copper Leg Art Residency

House Talks with Seren Oroszvary, Lauri Lest and Niina-Anneli Kaarnamo
Discussions, questions, and stories about site-specific, performative, and installation art. What space and objects can mean; perspectives, philosophies, and creative practices.

Seren Oroszvary https://serenoroszvary.com/
Lauri Lest https://laurilest.com/
Niina-Anneli Kaarnamo https://niina-annelikaarnamo.blogspot.com/

Poster design:
Niina-Anneli Kaarnamo with Laima Daberte’s artwork

Copper Leg Art Residency and its artists’ creative work are supported and managed by Rae Cultural Centre, Rae municipality.

Public transport:
Bus nr. 135, 135A & 135C Tallinn (Balti jaam 1, bus stop) – Vaskjala (bus stop)
More information: https://transport.tallinn.ee/#tallinna-linn/map/en

Location:
Copper Leg Art Residency
Rae old school house
Ussiaugu tee 20
75313 Vaskjala, Rae Parish, Estonia


Event in Facebook: https://fb.me/e/k46QbQE4C

WELCOME!

Every summer was about spending time in Estonia where my parental grandfather wasborn. As my family started to revisit when Estonia gained its independence in 1991. We usually travelled with the ferry from Stockholm when going to Elbiku, a coastal village inthe outskirts of Haapsalu. The ferry was always a mystery to me – a portal to my grandfather’s past. I started to document moments that my grandfather has shared withme from his up bringing in Estonia. It became a dialogue that we had – I tried to reflecthis stories in the images or film sequences I collected. Somehow the past and presentresonated with one another, as I got to see the environments that he narrated in reallife. I could directly connect the scenography with his stories.

Over time my filming and photographing has become more about my own position and memories towards the environments I am revisiting – how I am reflecting myself in thechanging landscapes as a result of the newly found independence. I somehow feel aconnection to the transformation. Maybe because I witnessed the changes in the environments that were familiar to me – every summer I returned I noticed a change in my surroundings. I could feel the winds of independence as I was growing up.

During my stay at Copper Leg, I have reflected on in-between spaces that are connected to Estonia, mainly focusing on the ferry travelling from Stockholm to Tallinn. As I have been travelling to the residency with my photographic equipment. To me, the space mirrors worlds within worlds and acts as a historical reflection of Estonia’s history. Soundscapes of mixed languages and shadows of passengers are reflected within the glass world as we are travelling across the Baltic Sea. The connection itself is a reflection of being connected to both countries – It is to me the definition of an inbetween space. Here, I have been photographing the cabin dressed in natural projections from the window. The tiny space acting as a camera obscura. An upside-down world as I am isolated at sea – In search of times that have passed.

Working in the darkroom has been a time for me to reflect on my topic, slowly and carefully developing my images. I am drawn to slowness, it allows me to take a step back and to be present in the moment. Similar to the ferry, the darkroom becomes a parallel world where I can solely focus on my image-making – I adjust to the darkness.
As I put my images together, I look for a narrative to describe the feeling of being inbetween. The images go in and out between the external and internal. It is for me a door to a different world.

Karolina

Karolina Bergman Engman is an artist who works with film, photography and
installation. In her practice she explores spaces that intertwine collective memory with
the personal. Through the camera she explores her perception to understand the
different layers of a place – to a point where the interior and exterior are merged.
Bergman Engman received her MFA from Malmö Art Academy in 2024 and holds a BFA
from Bergen Art Academy.

karolinabergmanengman.cargo.site
ka.roli.na.engman

Vaskjala Sirakas is turning 5 and Copper Leg Art Residency is turning 8 — this deserves a proper celebration ! ! !
Sirakas has already become a traditional end-of-summer mini-festival, where experimental electronic music performed live meets the artworks of the Copper Leg.

Vaskjala Sirakas 2025 weekend offers an exciting blend of experimental electronic music, visual arts, performances, workshops, and sauna experiences, both indoors and outdoors.
From Saturday’s exclusive music & art explorations marathon to Sunday’s jam session, creative activities, and a special birthday tour.
Everyone is warmly invited to join, hang out, and stay overnight if they wish!

Saturday 30.08 —-

16:00 Concert I EMA [Estonian Electronic Music Ensemble]
16:45 Art Program I
House and art introduction
Sten Saarits @sten_saarits
Karolina Bergman Engman @ka.roli.na.engman
Anett Maiste @anettmaiste
Aubery Lis @auberylis
17:30 Concert II
Juhan Soomets @juhansoomets
Matas Samulionis @matazaras
Roberto Becerra #robertobecerra
18:15 Art Program II
Kaur Terep @kaurterep
19:00 Concert III
Benjolin Orchestra @straussleeches@villemj@juhan_vihterpal@ekkev@taavi_varm
Jesper Pedersen
19:45 Break and Bank of Poetry
20:30–21:15 Concert IV
Iti Teder @itiest_monknash
Ana Gutieszca @anagutieszca
Art Program III
Katrin Essenson @essensonkatrin
Sauna

Sunday 31.08 —-

10:00–11:30 Breakfast
11:30–13:30 Swimming or/and sauna
14:00–15:00 Copper Leg birthday tour with Niina-Anneli Kaarnamo @nakaarnamo & Maarja Tere @teremaarja
15:30– Estonian Electronic Music Association @elektroonilisemuusikaselts jam session
Workshops:
15:30– Pinhole camera workshop with Ott Kattel @unxle
15:30– Doll-making workshop with Lea Blau @leablau_

Recommendation:
Please register for the free Sunday workshops
copperleg@rae.ee

Tickets for Saturday: https://fienta.com/et/vaskjala-sirakas-2025
[in cash on site]

Registartion for the free bus ride to Vaskjala from Tallinn: https://docs.google.com/…/1FAIpQLSdPh4QIdZX7gT…/viewform

Location: https://goo.gl/maps/iqo3zu7Xmuj

The Estonian Electronic Music Society (Eesti Elektroonilise Muusika Selts, EES) was founded in 2017 with the aim of promoting and developing electronic music in Estonia.
https://estelmus.com/en/
@elektroonilisemuusikaselts
https://www.facebook.com/profile.php?id=100064912507639

See you soon at SIRAKAS! 

The Vaskjala Reservoir, built in 1970 as part of Tallinn’s water system and connected to Lake Ülemiste by canal, has shaped both the local ecosystem and how people relate to the landscape. During the late June residency at Copper Leg, when the days are long and the meadows full, artist Junny, Chun Au Yeung  follows this layered landscape shaped by glacial movements and water systems, exploring how direction might be found not through fixed plans, but through attention, presence, and quiet observation.

” In 2022, after completing my Master’s degree in Estonia, I moved directly to a city in the UK. The decision felt somewhat abrupt, and in many ways, unchosen. I remember spending a long time before my arrival navigating the area through Google Maps—surveying streets, buildings, and environments. In this state of “pre-arrival orientation,” I began forming mental images of a place I had never physically entered, generating a tension between imagined stability and geographic positioning.

This experience became the starting point of my practice. A map seems to promise direction, offering a pathway to a place called “home”—an endpoint where anxiety might find rest. Yet, once I began living in this so-called destination, I felt only a deep sense of dislocation and despair. It was as if I were holding a map that failed to lead me to any space where I could actually belong. The destination had never truly existed—only the illusion of it.

This exhibition traces what I now describe as “an ongoing rehearsal within a labyrinth.” It reflects the gap between the imagined clarity of a destination and the dissonance of actual living. When symbols and shaded zones on a map can no longer guide us to where we hoped to arrive, we are left circling inside abstract signs—hovering in a state of unresolved, drifting, uncertain being. I became, in this process, an uninhabited shell—something moved, but not filled.

During my two-month residency at Copper Leg, I return to several recurring questions: What is the fiction of direction? What does it mean for existence to drift? And how much of belonging is shaped by chance? Does the idea of a “destination” truly exist, or is it merely a projection formed by perception?

As a response, I will develop a personal psychological map—one that connects reflections on the natural environment with lived experience. Through a pre-planned walking route, visitors will be invited into nearby forests and fields. How does a plant choose where to root itself? Do petals carry a will of their own, drifting not only with the wind, but toward where they wish to land? What does “destination” or “dwelling” mean to them? This act of walking becomes a quiet form of inquiry, and the reflections it generates will ripple into the language of the exhibition space—forming a dialogue between interior and exterior, between memory and presence.

Inside the gallery, through the rearrangement of familiar things into misaligned, non-functional forms, I aim to give shape to a quiet form of resistance—a question posed through composition: does existence itself have direction? These disruptions are not acts of destruction, but gestures of disorientation—revealing a state in which direction remains provisional, and the “ideal place” never truly settles. At the same time, I also use a pinhole camera to photograph the surrounding natural landscape, drawing on its inherent characteristics—waiting, inversion, uncertainty, and spatial misalignment—to further extend this reflection on the fragility of presence and the impossibility of arrival.“

– Junny about his work

Chun’s practice explores the instability of belonging through the material poetics of everyday objects, found materials, installation, drawing, and photography.

After receiving a Master’s degree in Contemporary Art from the Estonian Academy of Arts in 2022, Chun relocated to the UK—a transition that sparked an ongoing reflection on displacement, direction, and the constructed nature of “home.” Their work asks whether belonging is a path that can be navigated, or a condition of continuous drift.

Through reconfigured furniture, dysfunctional assemblages, and fragile installations, CHUN constructs spatial-poetic situations where function collapses and orientation becomes uncertain. These material gestures embody a recurring philosophical tension: the longing for arrival, and the impossibility of ever fully arriving.

In recent work, the artist has expanded his exploration of the language of navigation—maps, symbols, and spatial cues—as metaphors for existential uncertainty. His current project, An Ongoing Rehearsal within the Labyrinth, unfolds as an ongoing meditation on the provisional nature of direction, questioning whether the “ideal place” is anything more than a construct of the imagination.

 www.chunauyeung.com