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1.What kind of information exists in the outer layers of things? In a threadbare terry towel, in salt efflorescence on a brick wall, in yellowed lacquer, in charred bark. What happens when the gaze touches the outermost layers—what emerges in that moment?
2.In his exhibition at Kunstnerforbundet, Cato Løland presents a new series of wall-mounted sculptures with skeletons made of rebar and wire mesh, occasionally visible beneath the materials that cover them. They resemble oversized seed pods, sliced lengthwise to reveal their insides. One might think there’s a desire to reveal here—but that impulse is interrupted by a need to conceal. Pieces of fabric hang like veils or ragged strips over the forms. The curved shapes leave the interiors of the sculptures partially in shadow. “There’s nothing inside the pods,” one might say—at least no pearl-shaped fruits waiting to be discovered. So instead, the gaze is directed to the shell, the container: to what it consists of, and what it...More
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Press Release
1.What kind of information exists in the outer layers of things? In a threadbare terry towel, in salt efflorescence on a brick wall, in yellowed lacquer, in charred bark. What happens when the gaze touches the outermost layers—what emerges in that moment?
2.In his exhibition at Kunstnerforbundet, Cato Løland presents a new series of wall-mounted sculptures with skeletons made of rebar and wire mesh, occasionally visible beneath the materials that cover them. They resemble oversized seed pods, sliced lengthwise to reveal their insides. One might think there’s a desire to reveal here—but that impulse is interrupted by a need to conceal. Pieces of fabric hang like veils or ragged strips over the forms. The curved shapes leave the interiors of the sculptures partially in shadow. “There’s nothing inside the pods,” one might say—at least no pearl-shaped fruits waiting to be discovered. So instead, the gaze is directed to the shell, the container: to what it consists of, and what it...More
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