hypernadir is a collaborative project by caroline turner and dana buzzee taking place over the course of roughly one year. drawing from seasonal configurations of the sun and the earth, the first phase of hypernadir is a diurnal display on the summer solstice, housed in a repurposed foundry site in western oregon. the documentation of the work shared larter on the autumnal equinox at http//:hypernadir.engery. the first cycle of this project, summer solstice and autumnal equinox, represents a celestial patterning that will be flipped and mirrored over the course of the coming revolution; the inevitable revolution of the Earth, but also perhaps the revolution of the spirit.
hypernadir was conceived from a series of ongoing studio conversations on both turner’s and buzzee’s approach to various disasters of humanity, as well as the social constructs through which these disasters are perceived. with a shared interest in making art that addresses sites of collapse as possible beginnings, turner and buzzee have identified a common ground offering rich potential for exchange. though each artist works from different philosophical approaches and areas of the past, future, and present, both consider their practices as a forum for crafting narrative. their speculative attitudes to what might take root, or perhaps already has, following disaster, explore a range of real and fictional post-collapse scenarios.
turner’s work in hypernadir pulls from her hinterland series. the series explores sites that facilitate reflection on the limitations of one’s knowledge. to turner, the “hinterland” is a source of opportunity to develop new systems: to reimagine, to reorient, to build something new. the artist’s work in hypernadir draws from decorative statuary and symbolism from the baroque past, activating the time-spanning quality of these references to speculate about the future. by contrast, buzzee’s contributions to hypernadir draw from their ongoing investigation of the post-apocalyptic. keenly aware of the cascading catastrophes confluencing in the present, buzzee’s practice imagines what follows the apocalypse. towards this pursuit, their current work centers on the fetishistic and temporal nature of plastic, exploring what happens when plastic is assimilated into counter cultural objects and through this examines myth-making practices in our time, and how plastic might outperform, and ultimately outlive its context.
the word nadir represents the lowest point both in an individual or collective experience or fortune. It also represents meaning in a planetary sense: the point below an observer on a celestial sphere. nadir is an anti-zenith, so to speak, a lowest low. considering low points, disasters, catastrophes, and apocalypses as events so potent they can spawn origin, both Turner's and Buzzee's uncanny sculptural objects, on display out of time and out of place, imagine what follows nadir.