Exploring mortality's weight across various time scales, Hautemulle’s practice questions values shaped by finite time. From geological epochs to personal lifetimes, she questions productivity, progress, pleasure, beauty, goodness and value.
How in our mortality, do we consume time?




︎︎︎ michael.hautemulle@gmail.com
︎︎︎ @michaelhautemulle




Exploring mortality's weight across various time scales, Hautemulle’s practice questions values shaped by finite time. From geological epochs to personal lifetimes, she questions productivity, progress, pleasure, beauty, goodness and value.
How in our mortality, do we consume time?

continue reading...


︎︎︎ michael.hautemulle@gmail.com
︎︎︎ @michaelhautemulle

ECHOES  (PART ONE)

Flint, photography, porcelain 
2016-2017


Following the removal of the flint, the artist created porcelain reproductions of the stones and sent them back to Balloërveld. This act was motivated by both a sense of guilt over displacing the original stones and a commentary on technological capabilities. By rapidly producing and transporting the replicas, she highlighted the contrast between the slow geological processes that formed the stones and the swift technological advancements that facilitated their reproduction and transport. This work also pays homage to the ancient people who originally used these flint stones for fire-making and tool crafting. It connects with the Funnel-Beaker Culture, who settled in the region around 3400 BC and constructed the Hunebedden—rocky burial mounds made from the same ancient boulders, which are among the most ancient monuments in the Netherlands.


Landscape of the finding, Balloërveld, the Netherlands



The mold



Sharing the same place











Copies returned to their landscape (photographs taken by INEKE HECKMAN)