{"id":5892,"date":"2018-01-13T10:25:05","date_gmt":"2018-01-13T10:25:05","guid":{"rendered":"http:\/\/artzine.is\/?p=5892"},"modified":"2018-02-08T21:33:50","modified_gmt":"2018-02-08T21:33:50","slug":"anna-runs-garden","status":"publish","type":"post","link":"https:\/\/artzine.is\/?p=5892","title":{"rendered":"In the Garden of Anna Run"},"content":{"rendered":"

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\u00cdslenska<\/a><\/p>\n

It can be said that \u201cGarden\u201d (\u201cGar\u00f0ur\u201d) by Anna R\u00fan Tryggvad\u00f3ttir is, to a certain extent, watercolor art. Fourteen bottles, hanging upside down, mechanically release droplets of water color onto rocks treated with salt and plaster. Each droplet then reacts with the surface, transforming it, coloring it, crystallizing it, so that the work is never the same from day to day. \u201cGarden\u201d is watercolor art in which each color scheme is isolated and removed from its context; its effects are to be studied almost scientifically, as in a laboratory. Each drop exists in solitude. Someone looking at the work sees the original surface gradually destroyed, while simultaneously something new is created. And though the work is really a process, it makes us think about nature because it utilizes natural forces\u2014so that anyone who views the work on a daily basis cannot say that one day it is \u201cright\u201d and the next day \u201cdamaged.\u201d The piece is always as it should be, and \u201cGarden\u201d demonstrates through its manmade processes that the natural world does not have a single \u201cright\u201d state.<\/strong><\/p>\n

The artwork is ever-changing; it is constantly erasing the existing state and at the same time creating something new. There are no correct interpretations. In fact, the work demonstrates the paradox that figures\u2014from the goddess Kali to the economist Schumpeter\u2014have articulated: the theory of creative destruction. Creation and destruction, life and death, are not contradictory but rather interwoven concepts. Thus, the work actually engages with nature rather than painting a picture of nature. In fact, such a work is just a snapshot of an ecosystem at a particular moment in time. \u201cGarden\u201d captures the essence of nature, the chemical reactions and the breakdowns, wherein nothing in nature is \u201cright.\u201d The beach is the way it should be, just like the mountain and the river, the forest and the desert, the valley and the canyon. All this was something else before the droplets fell from above and transformed the landscape. The gorge was a mountain slope, the glacier drifted down to the plateau and carved a valley under the sea. Everything is subject to continual transformation, continual flow, continental drift, continual decomposition, continual reactions, interactions and destruction.<\/p>\n

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It’s not until Man walks into the picture that some kind of imbalance occurs. The valley will be a landfill, far from being the „correct“ existence, a river will be lifeless, or the hill will become a city, and when it comes to man, nature\u2019s continual transformation\u2014the dual creation and destruction\u2014suddenly are not so obvious or accepted. We stop seeing nature and our life seems to be aching to fight it the destructive side and they become „unnatural“. An old car, a broken television, an unused cabinet, a scratched CD, an old, sick or dead person: these things are ineffective and unnatural in our eyes, we do not see anything new, we only see an imbalance and decay. Suddenly it\u2019s as if the understanding of the duality has been lost. The death side, the destructive side of nature becomes decay, damage, pollution.<\/p>\n

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Once one form has changed to another that is really nothing. Thus what man leaves behind is out of balance and it takes more time to understand how the droplet carves the stone and finally reaches a second equilibrium. But if we look at it, \u201cGarden\u201d helps us analyze and evaluate nature\u2019s transformations: the rust that swells on the car\u2019s windowpane, the silicon in the sink, white spots on the battery. It’s like Man has placed himself outside and above this intersection of creativity and destruction, thinking he can devote himself to be only on the side of growth and creation: he lives out a struggle with the destruction, finds material to work on the silicone in the bath, tries to keep the lawns neat and square, keep the destruction and the mess at bay, as if individuals and mankind could build, fix and improve these eternal droplets that fall and clear and carve the stones.<\/span><\/p>\n

\"\"<\/p>\n

Good artwork helps us understand the world again and thus has always brought us new eyes or tools to handle the world\u2014to perceive it and understand. They sometimes reveal the everyday, the quotidian\u2014whether it is the everyday lava that Kjarval captured, or the Reykjav\u00edk that T\u00f3mas Gu\u00f0mundsson captured in his poems, or the packaging that Warhol captured, or how Ragna R\u00f3bertsd\u00f3ttir captured gravel, stones and salt. In Anna R\u00fanar\u2019s garden, she captures and uncovers what is native to all works of art and all material. She captures the world\u2019s creation but shows us that it is by no means transient, that there is no beginning or end to anything. She facilitates the process so we see it clearly, then perceive and think about the world again with a new perspective. <\/span><\/p>\n

All our work will be the destruction and the transformation of what is temporary: a watercolor that captures forest and mountain has only taken a snapshot of time, grabbed one droplet in the whole process and captured it, but eventually the painting will yellow, the forest will be transformed and the mountain will erode slowly because of the droplets in the hollow stone, and lines of verdigris flows down the face of the nation’s hero and pollution stains the world\u2019s marble statues, because everything is always in a process of becoming something else, the way it should be and has always been.<\/span><\/p>\n

Andri Sn\u00e6r Magnason<\/em><\/p>\n

\n

Translated by Gabriel Dunsmith.<\/span><\/p>\n

Photocredit: Courtesy of the artist.<\/p>\n

Website:\u00a0www.annaruntryggvadottir.net<\/a><\/p>\n

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\u00cdslenska It can be said that \u201cGarden\u201d (\u201cGar\u00f0ur\u201d) by Anna R\u00fan Tryggvad\u00f3ttir is, to a certain extent, watercolor art. Fourteen bottles, hanging upside down, mechanically release droplets of water color onto rocks treated with salt and plaster. Each droplet then reacts with the surface, transforming it, coloring it, crystallizing it, so that the work is […]<\/p>\n","protected":false},"author":1,"featured_media":5877,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[16],"tags":[],"class_list":["post-5892","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artzine-in-english"],"yoast_head":"\nIn the Garden of Anna Run - artzine.is<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artzine.is\/?p=5892\" \/>\n<meta property=\"og:locale\" content=\"is_IS\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"In the Garden of Anna Run - artzine.is\" \/>\n<meta property=\"og:description\" content=\"\u00cdslenska It can be said that \u201cGarden\u201d (\u201cGar\u00f0ur\u201d) by Anna R\u00fan Tryggvad\u00f3ttir is, to a certain extent, watercolor art. 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