it’s only forever, not long at all | Group exhibition | 2026
Installation and performance, May 29th 2026
“The exhibition presents an installation and performance exploring dysfunction and instability. The installation evokes a mystifying setting where time is not what it seems. Are we really getting where we need to or are we simply trapped?”
Concept
The exhibition brings together jelly and wax to construct a world that mimics reality but begins to fall apart when put to the test. Opposing in their physical qualities, the two materials share an ability to take on forms, hold impressions and create the appearance of something fixed. Within this world, familiar objects, bodily forms and monumental structures become unreliable, suspended between function and failure.
I have always been drawn to jelly: its translucency, the way it jiggles from the slightest movement. Working with agar-agar and carrageenan, I use the material to recreate forms that seem to belong to another, more stable reality. Their fragility is inseparable from their appeal. They can resemble something solid, yet remain in constant negotiation with gravity, temperature and their surroundings.
The works move between the monumental and the miniature, the sacred and the absurd. A pyramid, a key, a body and fragments of teeth occupy a shared environment in which familiar forms begin to lose their certainty. Text, sound and image repeat and distort, while the materials themselves resist permanence.
The exhibition emerged from an interest in the structures we inhabit and the systems through which we make sense of the world. What happens when something looks convincing but cannot fulfil its promise? What remains when the form survives only as an imitation of its original function?
Kiki's Baptism
Materials: Agar-agar, carrageenan, wax
Collaboration: Sofie
Kiki's Baptism brings together a jelly sculpture of Kiki immersed in a pool of jelly and a vessel formed from wax hands. The work revisits Jelly Kiki, a figure developed in an earlier project, placing her within a new setting and a shared material environment. {click here for more jelly kiki}
Part body, part sculptural presence, Jelly Kiki occupies a space between self-representation and object. The baptism becomes an encounter with immersion, containment and transformation, without a fixed promise of renewal.
Pyramid
Materials: Agar-agar, carrageenan, projection, TouchDesigner, synthesiser, sound
A monumental pyramid made from approximately 40 litres of jelly supports a looping audiovisual work. A text moves across its surface, accompanied by a synthesised sound composition. Using TouchDesigner, the projected image is warped in response to the sound, continuously altering the text's appearance and legibility.
The text moves between blindness, silence, devotion, sacrifice and collapse, taking the form of fragmented prayers and declarations. Its repetition creates a shifting relationship between language, image and sound, as the pyramid becomes both a physical structure and a surface for transmission.
During the exhibition, the pyramid cracked. Its monumental form and unstable material became inseparable, leaving the structure caught between the appearance of permanence and the possibility of collapse.
Projected text
“i’m surrounded by blindness
This Empire is nothing
I cannot hang words on the silence
i cannot hang myself in silence
Everywhere God's given light
what have i become
i have become all that i have loved
what have i become
your prophecies collapse me
the broken glimmer of the moon shines here
Your sacrifice completes my sanctuary
i pray for the sand in my eyes”
- kiki kazimi
Teeth
Materials: Clay, wax
Small clay teeth wrapped in wax. Arranged alongside the pyramid, the teeth introduce a smaller, bodily presence into the installation. Their familiar form is reduced to a collection of fragments, sitting somewhere between an anatomical object and a sculptural one.
Key
Materials: Agar-agar, carrageenan
An oversized key modelled after the keys historically associated with churches and monumental spaces, cast in jelly. Its recognisable form suggests a function that its material cannot reliably fulfil.
Placed beside another artist's video involving a wax winding key and a figure falling through a hole, the sculpture enters into a dialogue with the moving image. The relationship between the two works brings together familiar mechanisms, unstable materials and the uncertain passage between one space and another.
Documentation is currently incomplete due to a technical issue with the original footage. Further documentation will be added.