Links. Strands. Extensions
Less and less, the world we occupy is being envisioned bilaterally - as earth and sky. More and more it is assuming the form of a sprawling and decentralized network of links and strands and extensions.
This formal arrangement is characteristic of functioning ecosystems. It is prevalent in eco art and abounds throughout the contemporary world.
- Scientists are summoning this web-like model to describe the structure of micro-matter and viruses.
- Political extremists have adopted this scheme to establish networks of terrorist cells.
- Engineers use this model to connect telephone nodes to switching stations.
- Mathematicians apply it to the new field of mathematics called Network Theory.
- Ecologists relate it to the vibrant interconnectedness of all beings.
Tue Greenfort, by replacing static arrangements of discrete objects with dynamic sets of relationships, examplifies an artist who conveys this current conception of the organization and the functioning of the universe. This compositional scheme is less formal than conceptual. It is apparent in the manner in which he composes and conveys his themes.
Links. Strands. Extensions
For example, ‘A Fly’s Composition’ (2004) is a photographic work that records fly tracks on windowpane condensation. The work is inspired by the writings of Jakob von Uexküll, a biologist who developed theories on the role of all organisms, however lowly, in the grand events that typically capture human attention. This work contrasts starkly with art that encapsulates an artist’s unique spirit and skill, and that is destined for the commercial art market. An ordinary fly on an ordinary windowpane critiques the bulwark of contemporary norms – individualism, fame, big money, resource use, cultural production, and all the sociopolitics that they entail. This modest strategy signals universal issues of environmental interaction and documentation. Fly on window
Likewise, a small relief work entitled ‘Rain I’ (2008) appears to be made of party streamers. This celebratory association is quickly overturned when the viewer realizes that the streamers are actually pH strips discoloured by the acid carried in rain.
In the context of Greenfort’s boundary-defying world view, this minute intervention is integral to such systemic global problems as the destruction of habitat, irresponsible energy use, corruption of a life-sustaining liquid, and the bulwark of damaging practices sanctioned within contemporary western societies. Rain
In sum, Greenfort insinuates small events that are often overlooked, into our consciousness. In the process he collapses prescribed boundaries between nature, culture, science, and industry.