Nat Breitenstein

From the 'The Unknown Soldier' Series. These are low-fi monuments 

and memorials to the characters in the book, 'The Unknown Soldier' 

set in the Finnish-Russian Winter War (WWII) by Vaino Linna.

Totem. Mixed Media. 2007

Excerpt from Breitenstein statement:

Totem and the headdress are props which will be seen in the work Moosewoman (2008), who is a sister to Ingmar Bergman's 'Death' in "The Seventh Seal", a silent companion to all unknown soldiers. She moves like a Saracen wanderer, voyeuristically skimming the edge of reality. She is solitary and hence un-judgemental and without morals. Moose may willingly or unwillingly shed their antlers, when found they become fetishised relics, unblemished witnesses to time and battles passed. Moosewoman embodies this fetish, she has 'wings of desire'. Hark! She may be a little mischievous too...

Moosewoman will be screened on the film night.

What is the use of truth anyway? I am interested in sculpture as image and the fading popularity of anti-retinalism as a beacon for the ‘Real’, (where the ‘Real’ equates with Truth). Are illusion, decoration, commodities and ‘looking’ not an essential part of everyday reality? Reality has changed since the ‘deconstruction’ of the 1960s; we live in another political realm where we embrace all the absurdities of appearance, they are an inextricable part of the foundation of our world. I embrace appearances because, quoting from Magritte again, ‘nothing makes the reality of space so uncertain as the painting of reality.’ Uncertainty, like a drop of mercury, will always resist dominance.