Archives for posts with tag: Gala Porras-Kim

below and beyond

August 11, 2025 //
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Thrilled to be invited to exhibit in Carbon, Carbon Everywhere at Hypha HQ co-curated by Indira Dyussebayeva-Ziyabek and Maria Hinel including artists Emii Alrai, Kate Daudy & Konstantin Novoselov, Simon Faithfull, Ania Mokrzycka, Nissa Nishikawa, Mariele Neudecker, Anousha Payne, Aimée Parrott, Lucia Pizzani, Lizi Sanchez, and Meng Zhou.

Integral to the constitution of our bodies, soil, air and some rocks, carbon is a highly bonding element that incessantly transmutes from state to state, each particle challenging the boundaries between life and non-life. Bringing together works by twelve international artists, Carbon, Carbon Everywhere explores the shifting states of carbon, an element that threads through organic and inorganic matter, linking bodies, environments, and temporal scales.

I have updated my website with documentation on the video installation Lithos Panoptes recently shown at Hypha HQ in The Geological Unconscious which can be viewed here. Referencing a many-eyed giant of Greek mythology, Argos Panoptes (always eyes still awake), the work considers the perpetual vigilance of rock as record keeper and witness.

Lithos Panoptes, optical lenses, wood, steel, two-way projection; Sculpture H172 x W170 x D50 cm, Rear projection screen H180 x W180 cm.

Great to be mentioned in an Art Newspaper article.

Magnetic News

Interesting to hear about new magnetic materials being developed that will hopefully have a less harmful ecological impact and offer more technological efficiency. The magnetic materials that are so heavily relied upon for computer memory and microelectronic devices include rare and toxic heavy elements whose energy-intensive production creates significant global carbon emissions. Previously, two primary types of magnetism had been identified, ferromagnetic (regular magnetism that we are familiar with) and antiferromagnetic (which are internally magnetic, but their opposing spin orientations make them appear non-magnetic externally).  A third form known as altermagnetism has recently been confirmed with around 200 altermagnetic materials already being identified. These materials have a distinct magnetic order where tiny magnetic fields created by electrons are in anti-parallel alignment within a rotation of the host crystal structure leading to unique electronic properties. Altermagnetic materials have the potential for technological advancements offering huge increases in speed and efficiency especially in spintronics, an advanced technology that leverages both the charge and spin of electrons to store and process information.

A permanent magnet, MagNex that does not use the rare earth elements which have sustainability and supply chain issues, was developed in just three months with the help of AI analysing thousands of potential alloys. ‍‍ “This could have a significant future impact on our net-zero ambitions, through renewable energy and low-carbon transport, by removing the need for rare earth elements in high-performance permanent magnets.”

Recently launched, NASA’s TRACERS mission satellites fly in low Earth orbit through the polar cusps, funnel-shaped holes in the magnetic field where solar activity causes magnetic field lines to disconnect and reconnect creating disruption in the magnetosphere. By strategic placing of the twin TRACERS spacecraft in Sun-synchronous orbit, so that they always pass through the Earth’s dayside, thousands of dayside reconnection events can be observed and compared between spacecraft to see how quickly the process changes and evolves. Better understanding magnetic reconnection and its effects in Earth’s atmosphere will help prepare for impacts of solar activity on Earth. The magnetosphere protects Earth from the constant bombardment of solar particles from the Sun, but when magnetic field lines are disrupted by the solar wind, particles rain down into Earth’s atmosphere not only causing beautiful phenomena, like the aurora, but also impacting infrastructure, like satellites and GPS systems.

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Out and About

I have been lucky to visit exhibitions in Finland and Norfolk to see works that interrogate human impact on the environment and other living beings that share our planet.

Helsinki Biennial 2025 Shelter: Below and Beyond, Becoming and Belonging brings together 37 artists and collectives on Vallisaari Island (which has been off-limits for human habitation for decades), in Esplanade Park, and at HAM (Helsinki Art Museum). It explores the significance of shelter and turns the gaze towards non-human nature. In the works, the focus shifts from humans to animals, water, plants, insects, minerals, and other living beings and their role as contributors to our planet’s wellbeing.

Artists with work installed in the Esplanade Park included Katie Holten (inventing a forest alphabet) and Guiseppe Penone (inseparable connections between humans and nature).

Artists at HAM (Helsinki Art Museum) included Jenni Laiti & Carl-Johan Utsi (precarity of survival), Regina de Miguel (technofossils), Aluaiy Kaumakan (displaced community), Otobong Nkanga (ownership of resources), Ingela Ihrman (invasive species), Locus/Thale Blix Fastvold & Tanja Thorjussen (eelgrass conservation), Sissel M Bergh (Sami cosmology), Edgar Calel (more than human agencies).

Artists with work installed around the beautiful Vallisaari Island included Hans Rosenström (petrified wood soundscape), Tue Greenfort (species evolution), Nomeda & Gediminas Urbonas (amplifying non-human voices), Pia Sirén (human modified environments), LOCUS / Thale Blix Fastvold & Tanja Thorjussen (water health), Tania Candiani (hidden networks of the forest), Sara Bjarland (discarded inflatables), Kati Roover (humans and whales), Juan Zamora (bioluminescence), Band of Weeds (vegetal distress), Kristiina Koskentola (friendship of crows), Tamara Henderson (hidden realm of worms), Ernesto Neto (shapeshifting), Theresa Traore Dahlberg (invisible frequencies), Ana Teresa Barboza (plant narratives), Carola Grahn (colonialism legacy on estrangement from nature), nabbteeri (parasitism), Olafur Eliasson (more than human ways of seeing).

Excellent Monira Al Qadiri exhibition Deep Fate at the Museum of Contemporary Art Kiasma, Helsinki. Addressing the dichotomy of enjoying contemporary life made possible by oil during the accelerating climate crisis. Deep Fate, refers to the origins of oil deep in the earth and also to the way that dependence on oil and breaking that dependence are a matter of life and death for humankind. Al Qadiri grew up next door to oil refineries in Kuwait and experienced the Gulf War as a child. This personal experience is drawn upon in the haunting video Crude Eye which attempts to reconcile childhood memories of the oil refinery as a romantic glowing metropolis with its true nature as a site of environmental destruction. The demise of the local pearl-diving industry, a source of income superseded by the oil boom, is referenced by sculptures echoing the molecular structures of the chemicals used in oil drilling with iridescent rainbow colours that are reminiscent of oil and the shimmering surface of pearls.

Also at the Museum of Contemporary Art Kiasma was Rock, Paper, Scissors an anthology of diverse materials in contemporary art. Claes Oldenburg’s giant Extinguished Match which plays with scale brought to mind the video by David Hochgatterer Streichhölzer (Matches) where matches appear to spontaneously combust shown in the Carbon: Under Pressure exhibition recent tour to Glasgow ARC.

Materials celebrated through this exhibition included neural pathways stimulation of the visual system by pressure on the eyelids to see phosphenes, glittery thick folds of acrylic on canvas, leaded glass breakages, ephemeral copper wire net, faux marble that is actually hair on the barbers concrete floor.

With my head still full of the geological (unconscious) it was great to see the works of Alicja Kwade, Big Be-Hide (parallel universes – natural rock and a metallic copy either side of a two-way mirror) and Pars pro Toto (a part for the whole – stone planet like spheres) from the 2021 Biennial now installed in Helsinki’s Kalasatama district.

Another ‘geological’ delight was the unexpected appearance of stalactite’s forming in the tunnels of the military sea fortress built in the 1700’s on the island of Suomenlinna, a UNESCO World Heritage site.

I loved the amazing hive like wood floor at Suomenlinna boatyard. Every tree carries a memory of the past, recording the weather and conditions of each season. Dendrochronologists can work out exactly when a tree was cut down which is very helpful in underwater archaeology. Around Suomenlinna there are shipwrecks beneath the sea with no identifying features except their wooden timbers which incredibly hold clues to when and where the trees used were felled. Marine archaeologists, shipbuilders and forest scientists are working together to discover the stories behind the lost ships.

Helsinki is big on amazing libraries. The National Library of Finland is stunning and bursting with tantalizing books to explore, and the new Helsinki Central Library Oodi takes your breath away in its scale and sweeping curves.

Sadly Helsinki Observatory has long since stopped functioning as a place for active astronomical research (2009) and is now a museum. It was disappointing that the electronic cloud chamber they possess wasn’t switched on but there were some interesting instruments to wonder about in the meridian room.

Each day the time signal bag was hoisted to the top of a mast on the roof of the observatory just before noon and dropped down exactly at noon. The correct time having been determined by an astronomer observing the stars at night. This event could be seen from Helsinki Central Railway Station where the station clock was then synchronised. This method of time keeping for Helsinki residents was in use until the 1920’s.

The future of our oceans is explored in the Sainsbury Centre’s Can The Seas Survive Us?

The sea has often been viewed as a mysterious ‘other’, with its expansive surface and seemingly infinite depths dominating marine imagery in the history of Western art. Artworks in this exhibition explore the ways the oceans have been domesticated, reimagined on a bodily scale and brought inside to be tamed, contained or better understood. Sea Inside turns our oceanic gaze towards the sea’s more intimate spaces – whether physical, psychological or imaginary – and dives into shared watery origins, Indigenous ways of life and the items we remove from the sea to display on land.

A World of Water takes the North Sea and the historical relationship between Norfolk and the Netherlands as its starting point to look at the human impact on the sea. It was wonderful to see the original book Mundus Subterraneous from 1664 by Athanasius Kirschner whose geological illustrations and speculations I have been fascinated by. Olafur Eliasson’s suspended Shore Compass uses driftwood to reflect on navigation of an uncertain world. Some great maps in this exhibition including the intriguing map of sandbanks off the coast around Great Yarmouth. I have enjoyed following Julian Charriere’s visually dramatic work on Instagram so it was good to see these images scaled up. Andrew Watkinson’s montage based on research from the Tyndall Centre for Climate Change about coastal erosion in Norfolk swerves from resignation to resistance, hope to despair and took me back to my BA dissertation (The Communication Of Ecological Concerns Through Contemporary Artistic Practice, 2007) writing about climate change warnings coming from the Tyndall Centre and the frustration of researchers about distorted media coverage that made it hard for the public to understand the facts. Suffolk too has lost a lot of land to the sea since I was a child there. Although dreams of tidal waves are common anxiety dreams I believe mine were also influenced by overheard stories of the North Sea flood of 1953 when a storm surge coincided with a high spring tide, which my parents and local villagers remembered vividly, it was the worst flood of the 20th century in England and Scotland and many lives were lost. Maggi Hambling’s sublime Wall of Water holds frozen the terrifying waves that may threaten us while Cian Dayrit’s Dam Nation examines the impact to communities and ecosystems when water is held back or re-routed.

Darwin in Paradise Camp by Japanese-Sāmoan artist Yuki Kihara calls out that ” a reconsideration of what it means to be human requires a re-evaluation of the origin of the species.”

Sea Inside turns our oceanic gaze towards the sea’s more intimate spaces – whether physical, psychological or imaginary including work by Marcus Coates (attempts to create the call of the humpback whale in a bathtub), Kasia Molga (How to make an Ocean – the artist’s salt tears fill miniature glass capsules where algae is cultivated), Gabriella Hirst (ethereal images on hand etched fibreglass in a slatted structure that echoes the baleen inside a whale’s mouth).

At London galleries I saw work about tuning in to invisible forces, the importance of how we treat our fellow humans (dead or alive) and an assessment of the influence of past and present technology on hope for the future.

Islington Gallery Weekend is a great idea, just the heat while out walking that weekend meant I didn’t make it to all the galleries participating.

The Observatory at Bobinska Brownlee New River, presented abstract and textural works by Claudio del Sole, an artist and amateur astronomer who co-founded the ‘Astralist’ movement in 1959 inspired by the dawn of the space age. These cosmic inspired works are shown alongside those made in response to the Astralist manifesto by contemporary artists James Brooks, Robert Good and D J Roberts. Cocktails and an incredible performance on the piano of unique work by composer Edward Henderson were also part of the afternoon.

Poignant work from Harriet Mena Hill in Curtains at PostROOM Gallery. Fragments collected from demolition of the Aylesbury Estate in South East London are meticulously painted with details of the buildings that once were home to a community. An accompanying film gives voice to those who enjoyed life here before lack of maintenance and social care slowly stripped away the heart and soul.

Fascinating listening to Tracy Hill speak about her work in Natural Frequencies at White Conduit Projects which explores ways of being sensitive to invisible energies that move through us and our landscapes. Her experience of working with a water diviner feeds into her intuitive drawing processes and cut paper works.

I was drawn to visit Gala Porras-Kim The categorical bind at Sprüth Magers to see these images which reminded me of the large hadron collider but made from marble. They are actually an examination of the conservation of marble tiled floors in Italy.

I remembered I had seen her work before at Gasworks and found it really interesting. In this piece she attempts to commune with the dead whose remains have ended up in a museum collection, possibly not where the living person had expected or would want.

Gala Porras-Kim

All Earth energy sources are known to come from the Sun

Brass, sunlight

Most of the works were coloured pencil drawings of museum collections, giving agency to objects and questioning categorisation – this one of the poor mole amulet made me think of my mole killer brother who suffers from arthritis.

It is fascinating to think about how humans experience sound and consider frequencies occurring outside the human spectrum of sensitivity that other animals may be able to hear. Also to think about sound as vibrating bodily rather than auditory sensation. Barbican Feel the Sound requires a willingness for interactivity to experience most of the exhibits. The instructions weren’t always clear and so it was at times a bit of a frustrating journey through the space.

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everyday clouds

March 9, 2022 //
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The big excitement this month was to get the cosmic ray detector assembled and working. It may not look very exciting to see an LED flash but knowing it was caused by a tiny traveller from outer space I do find quite something to acknowledge.

The detector uses a small slab of plastic scintillator as a detection medium and a silicon photomultiplier (SiPM) for light collection from charged particles as they pass through the scintillator. Flashing the plastic block with light from a UV torch causes a big scintillation burst.

The signal from the photomultiplier is sent to an Arduino microprocessor which measures the amplitude of the signal. The small OLED screen updates every second and an LED flashes every time an event is registered.

I have the skills and patience of ABL Circuits to thank for soldering the tiny SMT components to the PCB boards and then working out which part had the fault and replacing it so that the correct voltage was supplied to the SiPM PCB. It needed to read approximately +29.5 V as anything over 30 might damage the SiPM so it was a big relief when this was achieved.

Once I had the printed circuit boards assembled I could wrap the scintillator plastic in foil, apply optical gel and attach it to the SiPM and then wrap this in electrical tape to make it light tight. I had a little bit of soldering left to do myself and then it could be slotted together.

When I had both detectors working independently I could set them up in coincidence mode to differentiate cosmic rays from background radiation particles.

The top detector is reading all local background radiation and the bottom one is just recording cosmic rays. The lights flash in unison when a particle travels through the top and bottom detector at the same time. The top detector labelled ‘M’ I will call mother and the bottom ‘S’ I will call son, (not the historical terminology suggested).

The horizontal lines record the energy of that particle – look out for the WOW particles!

So happy to have got this far with the project, now for the difficult bit translating that signal into an action triggering an interactive artwork.

Not only can cosmic rays be observed using a cloud chamber but they also trigger the formation of everyday clouds.

The Solar Wind is made up mainly of hydrogen and helium ions (ions are the nucleus of atoms separated from their accompanying electrons) known as solar protons. Travelling at up to 5 million miles per hour, the solar wind carries a million tons of matter from the sun into space every second. When massive amounts of energy stored in the magnetic fields of the sun are suddenly released in a solar flare explosion the particles are accelerated to even greater speeds.

Coronal mass ejections fire off great clouds of hot gas and the explosions are so powerful that they also rip away knots of magnetism from the surface of the sun which are sent sweeping past Earth deflecting the path of cosmic rays that would otherwise strike our planet. This effect is called the Forbush Decrease where increased solar activity results in a reduction of cosmic rays coming from outside our solar system.

Cosmic rays are super-charged subatomic particles produced by exploding stars, black holes and other phenomena many times more violent than any solar flare explosion but one coronal mass ejection can reduce cosmic rays for a few weeks and continued solar activity can keep cosmic ray counts low for sustained periods of time.

The Sun’s magnetic field goes through a cycle where north and south poles switch places about every 11 years. It then takes another 11 years for the poles to flip back again. Sunspot activity caused by the magnetic field are affected by the solar cycle but it is hard to predict how active a cycle might be. Usually at the beginning of the cycle there are fewer sunspots causing eruptions which then increase over time reaching solar maximum in the middle of the solar cycle before gradually retuning to solar minimum before the cycle begins again. The first solar cycle to be recorded was in 1751 and we are currently in cycle 25 with peak activity expected in 2025.

Research at the Technical University of Denmark has shown that the number of comic rays reaching the Earth has a significant impact on the warming of the oceans. When solar explosions deflect the number of cosmic rays hitting our planet there is a shortage of small aerosols – the chemical specks in the air that grow until water vapour can condense on them to become the water droplets of low-level clouds. The aerosol robotic network AERONETT also noticed a slight change in the colour of sunlight during times of low cosmic ray activity and found that violet light from the Sun looked brighter than usual. They put this down to the shortage of small aerosols usually provided by the cosmic rays which scatter violet light as it passes through the air. Without the growing aerosols, low-altitude clouds begin disappearing about a week after a Forbush Decrease minimum of cosmic rays. The water remains in the atmosphere in vapour form, but unlike cloud droplets it does not get in the way of sunlight warming the ocean. During solar maximum events the decline in cosmic radiation and the loss of low cloud cover persists for long enough to warm the planet.

“The effect of the solar explosions on the Earth’s cloudiness is huge. A loss of clouds of 4 or 5 per cent may not sound very much, but it briefly increases the sunlight reaching the oceans by about 2 watt per square metre, and that’s equivalent to all the global warming during the 20th Century.” Henrik Svensmark DTU

I have been testing new configurations of magnets for a large etching/drawing work looking at magnetoreception.

Also testing ideas for a magnetoreception performance mask. It became clear I will have to be careful with the iron filings around the eyes.

I was excited by the results of testing chine collé under black etching ink. It’s very subtle but I didn’t think it would show at all so was surprised and plan to try this with other ideas.

Great to see the launch of Yinka Shonibare’s new project Guest Artist Space in Lagos – this will be an international space for knowledge exchange between established and emerging artists, it will have urban and rural elements and involve local people as well as visiting artists for a true cultural exchange.

A video which I was invited to contribute to along with many artists Guest Projects has supported in the past is currently being shown as part of The Whitechapel Gallery exhibition programme A Century of the Artist’s Studio – Link to video here.

I am so grateful to Yinka Shonibare for his generosity and genuine interest in emerging and early career artists and awarding Laboratory of Dark Matters a month long residency that enabled us to achieve so much in 2017 including developing and running my first Cloud Chamber Workshops.

Exhibition Visits –

Gala Porras-Kim at Gasworks Out of an instance of expiration comes a perennial showing.

This wonderful exhibition is playful yet thoughtful, giving voice to the spirits of displaced, forgotten or overlooked fragments of history that have been institutionalised. The artworks suggest ways improve the material and spiritual conditions of artefacts stored in archaeological collections around the world such as re-aligning the sarcophagus or offering an awakening deity a more familiar prospect than the modern museum room in which it finds itself. Porras-Kim gives equal value to the dust gathering from artefacts stored in the back rooms of institutions and invites the spirits to communicate in the swirling patterns of marbling inks.

San Mei Gallery showing Laila Majid and Louis Blue Newby – not yet

Walls smeared with slime green are hung with prints on aluminium that shimmer in the low light setting with video morphing of a bubbling concoction of swamp things.

Noémie Goudal –  Post Atlantica at Edel Assanti

Luscious imagery dissecting the impact of deep time on landscape and climate.  

Berndnaut Smilde – Momentum at Ronchini Gallery

I was hoping to see a cloud produced in the gallery but had to settle for the documentation of previous clouds created in various locations presented in the Nimbus photography series. Apparently the artist very rarely makes this work as performance.

Shuster + Moseley – do not be afraid of the brilliant lights at Gallery Rosenfeld

Light bling of refraction and reflection when photons travel through a glass medium splitting and bouncing in reminder of its own physical presence

Also at Gallery Rosenfeld, Bongsu Park – in dreams we gather

Dreamscapes undulating through the darkness, echoing active brainwaves producing light within our sleeping skulls.

Rivane Neuenschwander Commonplace 1999 in Tate Tanks

Talcum powder is brushed into rectangular shapes on the floor, being remade every time it is exhibited. Simple gestures turn the stuff of everyday life into something unfamiliar and poetic.

James Freeman Gallery – Juliette Losq and Stuart Sandford in Elysian Fields

Interesting pairing of decay and perceived perfection.

Paintings rather than the layered installations I admire from Juliette Losq here. Delicate pale light seeping through these landscapes caught in the haze of a slow and gentle decomposition.

A close encounter with a full size Narcissus is only available through scanning a QR code to be experienced via the screen. Only his small pornworld counterparts were present, cast from the idealism of the digital realm into bronze.

Haig Aivazian All of your stars are but dust on my shoes at The Showroom

Two very moving films looking at light and fire, primordial gifts and how they are used for power and control.

Geo-poetic is a great description of how these films traverse history and borders exposing who decides what is seen and what is not and who holds the flaming torch over the touch paper.

Portals at Lisson Gallery curated by Ossian Ward

Images include Susan Hiller, Ryan Gander, Rodney Graham, Shirazeh Houshiary, John Latham, Mary Corse and Sean Scully.

A mixed offering of thresholds to alternative spaces, visible, conceptual, mythical or speculative.

Richenda Court Glass Town at The Muse at 269

Luminous work reflecting a fragile crystalline world

Good to see Lisa Pettibone’s suspended sculpture Instrument of Thought – A meditation on Matter and Light. The physics of the cosmos held in delicate balance as mirrored surfaces, crystals and rocks interplay hinting at ideas such as gravity, dark matter and the speed of light.

On Hannah Arendt: The Conquest of Space at Richard Saltoun with works by Sylvia Plimack Mangold, Elaine Reichek and Carey Young considering the question Has man’s conquest of space increased or diminished his stature?

The question is central to Arendt’s essay written in 1963 which rings alarm bells on the direction science and technology may be leading the human experience. The possible future Arendt foresaw of a world remade by the curiosity of the human race but transformed into somewhere unrecognisable to the humanist where even the scientist loses some essence of human nature as the world is described in a mathematical language that cannot be experienced with human senses may be bearing down upon us.

Lots to think about from this encounter. I think writing when she did, when the first man in space was quite recent history and before the internet, her concerns about a loss of what it is to be human, driven by technology effecting every part of our lives until there is no part left that hasn’t or isn’t in some way remade by humans was very prescient. I wonder how she would feel today as we rush into space like never before and not so much for exploration as exploitation. Arendt described herself as “a kind of phenomenologist” which I understand as looking at things purely as they appear to us without trying to explain why or how and accept meaning that comes from direct sensory experience. Works of art can act as mediators between the consciousnesses of the author and the reader as a direct attempt to communicate the experience of being human and the world around. Phenomenologists are interested in the way we come to share similar understanding of the world a collective subconscious or implicit agreement about how the world looks, sometimes referred to as the life-world.

An introduction to the essay link here presented by Roger Berkowitz, director of the Hannah Arendt Center at Bard College. Science transforms what it means to be human although we are still bound to our earthly bodies and subject to fate and fortune. Science does not give a human experience of the world, it confounds common sense. If our growth in understanding can only be expressed in mathematical terms then we have lost rather than gained a way of describing our world experience. Human thinking comes from metaphors and our thoughts are earthly, if we are taken off planet then the Earth becomes an object not our home.

Secret of Lightness at Parafin

Aimée Parrott, Andrew Pierre Hart, Tim Head, Andrea Heller, Laurence Kavanagh

Beautiful selection of works curated by Louisa Hunt that reflect the premise of Calvino’s text to pull against what holds us down and make a creative leap opening onto a new perspective.

‘Whenever humanity seems condemned to heaviness, I think I should fly like Perseus into a different space. I don’t mean escaping into dreams or into the irrational. I mean that I have to change my approach, look at the world from a different perspective, with a different logic and with fresh methods of cognition and verification. The images of lightness that I seek should not fade away like dreams dissolved by the realities of the present and future…’

Italo Calvino, Six Memos for the Next Millennium: Lightness (1985)

Of the Surface of Things at Alison Jacques showing works by Maria Bartuszová, Sheila Hicks, Hannah Wilke, Erika Verzutti.

Spending so much time thinking about the intangible it was refreshing to be exposed to some raw materials.

The curator refers to the 1919 poem ‘Of the Surface of Things’ of Wallace Stevens and the untethering of the imagination when exposed to the particularities of reality in simplified raw form.

In my room, the world is beyond my understanding;
But when I walk I see that it consists of three or four
        hills and a cloud.
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