Transcendental Thresholds- With works by Kristina Horne

2-3 May
11am -5pm

Private View: 2 May 6-9 pm.

Transcendental Thresholds is about crossing corporeal boundaries. Departing from the physical, structural and architectural, this sculptural exhibition draws attention to the physical as a dominating part of human experience. Evoking transitory earthly existence, the fragile glass forms appear to melt over the thresholds of the metal structures and elude to the body’s impermanence and traces of what it leaves behind.

The fact that Kristina’s works are exhibited inside an old crypt, where bodies were buried in
the early XIXth century, reminds the viewer of the ritualistic moment in which the body matter
and the soul are united. The space of this exhibition lets the spirit of the past encounter the
spirit of contemporary art. It is a chance for one to reflect on the state of his or her body and
the place that it occupies in society. The body is like a mirror reflecting culture and society,
like the words Soul at Rest Body at Rest of the neon light sculpture are reflected in the glass
pieces. Kristina plays with the idea of reflection on both formal and conceptual levels asking
one to contemplate on the design of the material and spiritual self. It is the human body
where nature and culture meet. It is where the biological merges with the intellectual and the
spiritual. The body encloses the spirit, like the architecture of this church confines spirituality
of the body of society. The walls of this church are a boundary where the sacred and the
profane meet. Much like our flesh is the corporeal boundary where the inner life meets the
outside world.

Kristina cuts through the flesh-like superficial surface in order to reach the deeper questions
that the rational mind fails to answer. Her work dissects the body and the culture it rests in,
in order explore how the body and the soul interact with each other. She suggests the
reciprocal relationship between culture and nature, mind and matter. Kristina’s metal
constructions thus evoke human design: the physical and the moral spine. These minimalist
structures made out of industrial materials juxtapose the fragile glass forms, which like tears
stream down the cold frames. The liquid effect suggests that bodies are constantly morphing
alongside the systems they exist in. The sculptures give an impression that the human
existence and surrounding materiality are in flux and matter is not fixed but always evolving.
While suggesting the idea of liquid modernity, the artist poses questions: How do we
approach contemporaneity and its resistance to consistency? How do we overcome our
existential fragmentation when universals have dissipated? How can we distinguish where
the profane ends and the sacred begins? Kristina poses questions, which do not ask for
answers, but rather lead one to turn inwards and to self-reflect.

Transcendental Thresholds examines the agency through the body as a symbol in the world.
In this exhibition the body acts as a threshold between the inside and the outside, as a
natural symbol of what we incorporate and all that we radiate with. Transcendental
Thresholds invites the viewers to immerse in themselves.
Agata Kik