All life forms are the mesh, and so are all the dead ones, as are their habitats, which are also made up of living and nonliving beings. We know even more now about how life forms have shaped Earth (think of oil, of oxygen—the first climate change cataclysm). We drive around using crushed dinosaur parts. Iron is mostly a by-product of bacterial metabolism. So is oxygen. Mountains can be made of shells and fossilized bacteria. (…) The mesh consists of infinite connections and infinitesimal differences.*

This is not an exhibition, this is an illustration of interconnectedness. It is a conjuration of shapes, textures, volumes, thoughts, information, sensations, discipline, cellulose, dust, objects, debris, scrapings, invisible configurations and visible compositions.
Gestalt.

Adelina Ivan, an abstraction habitué, fluently operates with the construction-deconstruction binary. Her intention seems to be to challenge the concept of morphogenesis**, the processes that generate shapes and structures. She takes on a given form and speculates its potentiality until new objects emerge with their own material and aesthetic logics. Reading these productions is a question of individual experience and worldliness.

I am the prophet and you are me.

Text/Adriana Ledecouvreur

Timothy Morton, The Ecological Thought, Cambridge, Massachusetts: Harvard University Press, 2010, p. 29

** from Greek morphê, shape and genesis, creation; the beginning of the shape.

Artist

Adelina Ivan (b. 1971 Bucharest, Romania) works with different media, from video to textile installations and drawing, examining structures and geometries in a quest for the composition and disintegration of matter. Her practice is grounded in a social and cultural critique of the conventions that have distorted an otherwise all-encompassing realm of possibilities of enacting femininity. Force and frailty are balanced in a display of rhythmicity and repetitive movement, operating within the irregularities of abstract forms and the formalism of humans.