A faux black marble column with a white plaster keystone featuring a relief of a cherub Dionysus, centered on the brick outer wall of an old foundry This wide view reveals some of both the outer and inner old foundry space, the large cruciform EVA sculpture on the brick patio floor, a faux black marble column with cherub Dionysus keystone near the outer grey brick wall, and through the open door we see a digital print hung inside and the milkcrate and wood altar in front of it A close up of low-relief sculpture lying on the outer brick ground of an old foundry, with the appearance of poured milk-coloured plastic in an abstracted shape, reminiscent of spiny creatures, tribal tattoos, blackmetal band logos Set on the outer patio of the old foundry, leaning against one of its gated walls sits a large faux black marbled boulder, in front of it spans the low-relief milky-EVA sigil Suspended on the black chain link that caps the gap on the top of the gated walls and the ceiling of the foundry patio hangs a smaller milky-EVA low-relief drawing, in the same style as the other A tangle of clear PVC floggers with stainless steel hardware spilling onto the grey-painted concrete floor of the inner foundry through an open door revealing the lush green garden beyond A close up of the clear PVC and stainless steel tangle on the ground spilling through the open foundry door A detail of the floggers even closer up than the last, drawing attention to the tentacular nature of the clear vinyl A close up of a long narrow milky-EVA low-relief sigil suspended in front of a one of the interior brick walls of the old foundry that has been painted white In the corner of the interior foundry space, a small EVA drawing, shaped somewhat like a butterfly and a spine, lies on the grey floor near some exposed pipes An installation view of the large EVA low relief out on the brick patio, from this vantage it appears to be a cruciform of tribal butterflies, spines, and ornament, to the right the large black faux marble boulder peaks into the frame Three unmarked milk crates, yellow, white, grey are stacked in the centre of one of the foundry rooms with a matte-black wood table top perched on top, behind it the door opens onto the patio with a clear PVC sculpture hanging in an alcove mostly out of focus An installation view of the long thin milk, or perhaps jiz-like, EVA sculpture hanging from an exposed pipe near the arched ceiling in front of the white brick interior wall of the foundry space An installation view of the inner foundry space, white arched wall and ceiling frame a digitally distorted and swirled painting of an 18th century woman, printed on matte paper centred on the back wall, in front of it the top of matte-black is revealed to have circular sacred geometric patterns laid in with silver resin, perched on top of grey, white, and yellow unmarked milk crates The digital image of the swirled and distorted painting of an 18th century woman A close up of the EVA pattern on the foundry brick patio, the lighting such that plastic appears a glowing glossy milky-blue The PVC sculpture from earlier is centred in the one of the far alcoves of the outer foundry. While abstract, resembling a complicated twin swings with bodage implications, the clear PVC falls symmetrically from the low ceiling, suspended onto the concrete ground A close up of an end of one of the clear PVC straps, finished with a stainless steel buckle, rivets, and D-rings A bust of smiling and slightly petinad god of the foundry space, ensconced high up one one of the outer brick walls A closer shot of the swings, through the clear vinyl and steel highlights of the sculpture, the bricks behind painted light blue A detail of the swings suspension, a large steel o-ring in the centre with four clear PVC straps extending out from it in the shape of an ‘X’ A detail of the twin seats of clear vinyl decorated with steel rivets, o-rings, and bolt-clips, butted against each other lengthwise under the suspension of the sculpture Another close up of the glistening clear PVC ‘X’ form present within the swing-sculpture A wide view of the outer patio of the foundry, featuring the cruciform EVA sculpture on the ground, as well as the large faux black marble boulder, and a second faux black marble column capped with a white plaster keystone featuring a low relief of Apollo The black faux-marble column with the white plaster Apollo keystone, underneath a natural gas line, centred within one of the arches of the patio gate-walls

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.