Jan Kossen

Contemporary Art Gallery

Marina Fridman

2017

CV/BIO

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The Ephemeral Rush I
2017

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The Ephemeral Rush IV
2017

Artists Statement

I am interested in what is beyond our sight, beyond our perception.

In the impossibility of imagining the 4th dimension, and in what it would look like if we could.

In the nature of consciousness.

In the empty space that we are made of.

In the incomprehensible vastness of our own bodies. In the 70 trillion cells that make up each and every one of us.

In the almost non-existent probability of us existing at all.

In what it would look like to step out of time and view an entire cycle of life, from birth until death, all at once.

In my work I explore unanswerable questions pertaining to our perceptions of time, space, reality and mortality. By posing and exploring these questions, I strive to expand both my own consciousness and that of my audience.

I often draw on my practices of yoga and meditation, during which I experience surreal sensations of such weightlessness that I feel as though I am made of pure energy.

This is a dramatic shift from the often uncomfortable heaviness and solidity of my body that I also experience, and causes me to question and explore the relationship between physical presence and ephemeral experience in my work.

The alchemical process that occurs during my yoga practice is mimicked in my artistic practice through the transformation of everyday objects and materials into perception- altering experiences. Magnifying lenses mimic crystal and glass, flickering as though in and out of existence. Broken bricks are overgrown with ethereal crystal formations, transforming the mundane into something of awe. Shattered mirror fragments reflect light to create spiritual totems that begin to speak to something greater than one’s physical self. Typically disregarded materials such as concrete and plaster gauze shed their associations and begin to wrinkle and sag, alluding to having lived a life. Through the transformation of materials, I seek to dislocate the known to redirect one’s attention toward the unknown, or unknowable. These crumbling, formerly utilitarian objects and materials become points of entry into existential questions.