"Did I ever tell you about the movie I made?
Where the sea sounded like the highway,
and the highway rumbled like the sea,
and the waves rushed by like passing cars,
and the cars bursted out like waves."
"instead to meet strangers who might change our minds"
Solo exhibition at the Swiss Church, London, 27 February - 15 March 2014
Curated by Adrienne Groen
Composition in collaboration with Vicky Steiri
Voice-overs by Alison Ballance and Therese Ladegaard Henningsen
Press Release by Adrienne Groen
Within "instead, to meet strangers who might change our minds", the artist Dorine van Meel presents a site specific installation that makes use of both the architectural setting and her own experiences within a church, where she recalls her memories of youth and reinstates them through layers of sound and light. The installation can be read on a number of levels, with van Meel harnessing the familiar features that would be commonplace inside such a space, whether it be the echo of the spoken word, or the coloured refraction of a stained-glass window. However, the content is channelled through a process of translation and abstraction, meaning that her recollections wander from their origins, leaving only a representation behind.
These recollections draw upon a letter written by her younger self at the age of sixteen, in which she discusses the multiple possibilities and aspirations of an undecided future. This commitment to text allows her to grasp at independence, setting out a romanticised proposal for individuality, that escapes the constraints of the existing systems and patterns of behaviour. In revisiting a moment of youthful energy, she reinstates this optimism, reminding herself that you can always return to your highest ambitions.
Shafts of projected light become representations of these systems, presented alongside different soundtracks that recite a combination of spoken word and composed music. Both the visual and the audible have their own varying rhythms, accelerating and colliding momentarily. By making use of the prominent glass- facade inside the Swiss Church not only is the installation integrated in the space, but also the rhythm is further enhanced by the light dispersed and fragmented throughout the building. The combination of these triggers construct an immersive atmosphere that offers the viewer the opportunity to recall their own similar experiences; leading to a moment of complete chaos that creates a passage breaking away from the familiar and plunging into the unknown.