Where Nature Ends is composed by a selection of works that I feel ~curve, [crook, <bend, #blur, – pin and *erase* dualisms through their material formulations. Using steel, jesmonite, pins, iron filler, plaster, wood, hessian, canvas and graphite as her tools, Hägglund questions representation and explores its potential beyond fixed boundaries.
Piercing pins through the surface of the canvas, the work Other (2019) riffs on the repetitive persistence of a honed language tied to property and border making. Through recomposing the power of representation as a material language strongly tied to capture, erasure, marking and description, I see Hägglund’s Other connecting dualisms to surveyor symbols.
Friedrich’s Rock (2020) suggests the marking of an immense landscape of the famous sublime painting “Wanderer Above the Sea of Fog.” Through removing both subject and horizon from its spectacular vision, Hägglund questions the limitations of the painting’s point of view. She erases both “Nature” and “Man” from its perspective and enhances its narrow sight by the work’s surprising material flatness.
The three–piece sculpture Rule of Three (Veni, vidi, vici) (2020) refers to the ancient Latin quote of Julius Caesar: “I came, I saw, I conquered.” These violent objects, titled after a rhetorical rule used for imposing truths, expose how a hierarchy, empowered by the one who persuades, becomes visible, and yet, renders a deception.
The large-scale Untitled (2021) graphite drawings, one on canvas, the other on hessian, show Hägglund’s process of destructing an image (almost as an inversion of her pinwork). Through her drawings she reveals a process of unlearning and questions what the potentials are of relearning the world as represented.