Konstfack, University College of Arts, Crafts and Design
Cecilia Hultman has a special eye and a special sensibility for the poetry that can be found in images of geological examinations, rocks, mountains, maps, satellite images, electron microscope images – instrumental representation models of microcosms and macrocosms mainly found in the natural sciences. These abstracted yet exact imageries of measurability, overview, cross-sections and detailed analysis – which appear to be created without conscious aesthetic considerations – are given new contexts and new content in Cecilia’s installations. Her primary medium for this translation process is drawing. As a drawer she celebrates slowness, which she feels has an intrinsic value where she has to relate to, in her words, ‘a personal, inner time as well as an external time.’ In her drawings of photographs she appears to function as a slow, human scanner in which the relationship between the original, the eye and the hand have an almost eerie, mechanical precision, but in the work she actually inserts both minor and major distortions into the handling of the material. Details may be omitted and emphasised and new meta-layers are added, making us aware of the image context and of the drawing as an object. Her work is based on an existing, imaginary or potential library where Cecilia has taken care in arranging certain details. Here the texts are also given a special meaning, with fragments projected as found or concrete poetry, establishing a permanent signal between the concrete and the imaginary, between terminology and invocation – or perhaps even between science and art.