The fact that I cannot understand the world, that I cannot oversee everything, that there’s more that cannot be seen than what can be seen and that there’s always more to come fascinates me. This limitation always functions as a starting point to make work. The line of the horizon functions as a metaphor for this limitation: the distance between the visible and the invisible, the known and the unknown, phenomenal reality and metaphysical reality or void. I try to find moments in which I can underline, pronounce the desire to reach concepts like ‘everything’, ‘eternity’ and ‘truth’ and the inability to reach these concepts at the same time. For example, the video work Downtime reflects the desire for eternity by holding a continuous dusk and the impossibility of this task at the same time. Being aware of the impossibility to cross these boundaries doesn’t take away the longing for the elusive and ephemeral of existence. It is not my task to cross the line of the horizon, but to find loopholes in our surrounding from where we’ve sight on the bound. It is an affirmation of life, of what’s here.
We want to speak about our existence, interpret our existence, expose our identity, but we lack the vocabulary to speak directly from spirituality. Only when we try to find words for what we want to say, do we realise that we are inventing what is in our minds. The problem of philosophy is paradoxical: what we want to say about reality and truth cannot be said, but how do we say this? How not to speak about the unspeakable and to communicate this in some way? The most radical answer to this is: be silent, be present and pay attention. The outcome of this conclusion is the reason for being an artist. The problem of philosophy is exactly the line of the horizon I use as a metaphor. This line sometimes is dusk, or the edge of the screen, the distance between me and the moon, an advertisement page, the distance between two lovers, a black image, the ground, a door, a shadow line, the distance between two buildings, and can also be wind.
Linda Lenssen (°1984 Venray, The Netherlands) holds an MA in Visual Art (2012, KASK The Royal Academy of Fine Arts, Ghent) and has taken part in group exhibitions such as FRIS IX, curated by Jan Colle – Entrepot Fictief, Ghent (BE), THE RESEARCH AND DESTROY DEPARTMENT OF BLACK MOUNTAIN COLLEGE, curated by Jean Bernard Koeman – W139, Amsterdam (NL), ACSA SHOW – Autocenter Space for Contemporary Art, Berlin (DE), PROSPECTS & CONCEPTS - Mondriaan Fund shows talent, curated by Mirjam Westen – Van Nelle Fabriek, Art Rotterdam (NL), TIME/SUBJECT/SPACE, curated by Stijn van Dorpe – Expoplu, Nijmegen (NL). She participated in artists-in-residence programmes in 2012 at SÍM Residency, Reykjavík (IS) and in 2013 at Residencia Corazón, Buenos Aires (AR) where she had her first solo exhibition. She received a starter stipend of Mondriaan Fund (2013), is laureate of the residency grant of the French Ministry of Culture (2014), is nominated for the Marl Media Art Award (2014) and has participated WARP Artist Village (2015).