Perhaps chaos does not exist

We explore the world through our bodies and sensory organs. Through an active exploration we familiarize ourselves with our surroundings. In this process the body becomes the center of one´s reality. The body becomes the “here”; the reference point that all sensed phenomena stand in relation to. According to phenomenology, the body is present in every experience. It is not a barrier between us and the world, but rather a precondition for our being in the world. Our previous experiences, prior knowledge and opinions also play a big part in how we perceive and evaluate our encounters within the world. We are constantly matching our ideas with the world, adding to our experiences, changing our opinions, rethinking, reevaluating. Things and ideas are in constant motion. The world is in constant motion. Human beings are in constant motion. We are motion.

Motion involves the changing of an object´s place or position over time. The relation between cause and effect entails that a force, such as an object or body has an effect on another matter so that it changes position. The cause of the first movement remains unknown. Though everything is in flux, we exist within systems that are controlled by laws. Some systems are so vast and complex that we do not recognize them. They still exist. Perhaps chaos does not exist – but rather different manifestations of laws. The relationship between order and chaos fascinates me, as well as the relationship between stability and instability, static and motion. It is neither the standstill in itself nor the movement, but the fine line in between. The fragile moment when an object is beginning to move or when a movement is about to stop.

My work in Gerðarsafn explores this fine line through the idea of an open system. The work is self-contained, yet it bears references to the outside world; to other systems, the gamification of everyday life and the increased interactivity of our times. It consists of different elements that form an integrated whole in space. It has clear boundaries, yet is open for external input and in constant interaction with the outside world. Even though I created this work, I am not entirely in control of it. With self-controlling and self-regulating properties, the work exists on its own. The presence of the viewer sets off a series of actions. Lines, colours and forms change according to the viewer’s position and what they turn their attention to. Communication with the viewer through perception is integral. The meaning is dependent on the interaction between viewer, space and work, leaving it open for various interpretations. It is through their body and being in the work that the viewer is offered a new experience.

Ingunn Fjóla Ingþórsdóttir