rippling through
video installation
What is suppressed slips into the crevices.
What slips must be brought to the surface.
What doesn’t fear the surface speaks loudly.
What slips must be brought to the surface.
What doesn’t fear the surface speaks loudly.
rippling through sought the porous boundaries between our inner and outer ontology, approaching the making of images and the act of imagining as live tools for reaching the deeper layers of an emotional landscape. Working in video and installation, Gucheva and Tröscher shared a meditative method, one that opened a potentially healing process by tapping into suppressed emotions and memories. Taking the intimate and the personal as its starting point, the exhibition asked at the same time how an inner message resonates within a wider collective consciousness. What drove it was autotheory, where subjectivity and criticality become entangled, and the two artists worked with it in their own distinct yet interconnected ways, developing new pieces both together and in parallel.
Gucheva often works with alter egos, a method that holds lived experience and the complexity of one's own existence. In their work, personal memory and the echoes of childhood surface alongside repressed and painful layers of feeling and take on a bodily presence, as in remnant, cast in animal bone and wax, and suspended rehearsal, cut from aluminium. Grief runs underneath as a central current, not a fixed state but an active and transformative force that shapes how a body is inhabited and how it relates. By speaking from an internal voice, memory is not simply revisited but lived again, unfolding in the immediacy of the present and letting moments of confrontation rise to the surface.
Tröscher draws from dream analysis, treating the dream as a space of emotional and ecological transformation. Her work listens for the subconscious, for the subtle signs and symbolic images that surface from lived experience as blurred visions in the mind. Through a symbolism often rooted in encounters between the human and the other than human, she follows ecological thinking not only as an awareness of the environment but as an embodied condition. In her hands dreams become a collective reflection, meeting grounds where inner landscapes intertwine with wider ecological and social systems, opening onto a world shaped by porosity and transformation.
At its core the show was an immersive installation of video and sensory elements, a space the two artists built so that an audience could step into their emotional worlds and feel relationality rather than have it explained. How might the personal and the universal come together? What can sensibility reveal that language alone cannot?