The textile works sound calling down and sequence raveled out of sound engage with contaminated landscapes as living archives and resistant bodies, exploring how time inscribes itself in matter — not as linear progress, but as sedimented memory: fragile, fragmented, and non-linear. The starting point is the brown discoloration of the Spree and adjacent waters in Lusatia — a consequence of rising groundwater following the closure of open-cast lignite mines. The released iron oxide mud is a relic of profound extractivist interventions in land and bodies. Over several months, the artist dyed textiles directly in the waters and filtration systems. The fabrics function as breathing archives — they store traces, change, and resist legibility. The landscape itself becomes a witness: memory here is not fixed but remains in motion — fragmented, embodied, and intimate.

photos: Michael Depasquale, Carolin Seeliger

sound calling down, 2025
540 × 170 cm; iron oxide mud, cotton fabrics, latex

sound calling down, 2025
sequence raveled out of sound, 2025

The textile works sound calling down and sequence raveled out of sound engage with contaminated landscapes as living archives and resistant bodies, exploring how time inscribes itself in matter - not as linear progress, but as sedimented memory: fragile, fragmented, and non-linear. The starting point is the brown discoloration of the Spree and adjacent waters in Lusatia - a consequence of rising groundwater following the closure of open-cast lignite mines. The released iron oxide mud is a relic of profound extractivist interventions in land and bodies. Over several months, the artist dyed textiles directly in the waters and filtration systems. The fabrics function as breathing archives - they store traces, change, and resist legibility. The landscape itself becomes a witness: memory here is not fixed but remains in motion - fragmented, embodied, and intimate.

Dyeing process in a water filtration facility, Schwarze Pumpe, 2025

sequence raveled out of sound (II), 2025
123 x 161 cm; iron oxid mud, cotten, silk, tull fabric

Photos: Michael Depasquale, Carolin Seeliger