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Der Kopf ist rund, damit das Denken die Richtung wechseln kannGalerie Brugger

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Veranda / Julie De Kezel

Julie De Kezel’s practice begins with a simple, almost compulsive gesture: collecting. A shed
animal skin, a piece of moss, a mineral, an unknown organism, an image captured under a
microscope. Things encountered are picked up and taken home, as if the world were
constantly leaving behind traces that ask to be kept. What first appears as a natural object
becomes a token of attention, a way of holding onto an encounter and giving form to
something that might otherwise disappear.
Collecting, here, is less an attempt to archive nature than a way of remembering through
matter. Found objects become an external memory system, as well as entrances into further
research: an organism can lead to a piece of folklore, an image to a scientific experiment or
a new technique, a memory to a fictional world. Knowledge enriches the experience of
finding, while the found object sends the artist back into research. Her practice moves
continuously between these directions, growing like a rhizome, without a fixed centre or
predetermined destination.
Along the way, the sense of scale in her work shifts continually. A patch of moss can grow
into an endless forest; a city can shrink into a miniature world. Enlargement, reduction and
digital reconstruction allow De Kezel to move between recognition and estrangement,
testing how an object might change when its familiar proportions no longer hold. The
miniature paintings placed across the walls of Larval Tears operate according to this logic.
Enclosed in tear-shaped silver frames, caves sit beside microorganisms, plants and
landscapes. A stove, or a pot suspended over a fire, appears among them too – a quiet
reference to the French crémaillère, the iron hook once used to hang a cooking pot over the
hearth, and whose installation came to mark the moment a house was ready to be inhabited.
This merging of the domestic with the foraged recalls Ursula K. Le Guin’s The Carrier Bag
Theory of Fiction, in which she proposes the container, rather than the weapon, as another
possible origin for both human technology and storytelling: something made to gather, carry
and hold what has been found. Against the heroic narrative of conquest, singular action and
linear progress, Le Guin imagines a narrative form built through accumulation, relation and
return. De Kezel brings a similarly feminine mode of attention to the aesthetics of video
games and fantasy fiction. Rather than following the hero’s quest towards its conclusion, she
gravitates towards what surrounds it – wandering through landscapes, lingering at their
edges, gathering fragments and traces to carry home and fold into her own practice.
The miniature paintings are covered with chandelier crystals. Elsewhere in the exhibition,
crystals reappear, catching and refracting the light. A crystal does not simply show what is in
front of it: it splits a single view into several, bending light and revealing colours otherwise
hidden. In this sense, it becomes an apt figure for De Kezel’s movement between realities –
the collected world passes through a prism and emerges altered on the other side.
De Kezel traces her fascination with video game fantasy worlds back to watching her sister
play Forestia in 2005, a point-and-click game in which a forest could be explored through
small quests, encounters and acts of collection: endless picking without putting a biotope at
risk, endless walking and looking without disturbing the landscape. What interests her in
games is not only their imagery or narrative, but the particular way in which a world becomes
available through possible actions. Nature can be looked at, but also entered, traversed,
catalogued and collected.
Her relationship to these worlds nevertheless remains ambivalent. Uninterested in much of
the stress and violence demanded by gameplay, De Kezel describes herself instead as a kind
of professional spectator. She is drawn to recordings in which players wander for hours
through fictional landscapes, sometimes using modifications that prevent hostile entities
from attacking. Removed from the imperative to fight or progress, worlds such as Dark Souls,
Kingdom Come: Deliverance or Elden Ring become strange landscape films: places to walk
through, observe and gather from with the eyes.
Larval Tears takes its title from an object found in Elden Ring. Consuming a Larval Tear
allows a player to undergo “rebirth,” a redistribution of a character’s attributes, allowing an
already established identity to be reconstructed. De Kezel borrows this gesture for her own
practice: not to discard the archive she has accumulated, but to subject the collecting
impulse itself to another metamorphosis – to learn how to read what has been gathered
differently.
At the centre of the exhibition, a folding screen, or paravent, holds larger landscape
paintings. On its central panel, a dark, cave-like opening echoes the contours of the small
tear-shaped works surrounding it. Nearby, a bucket gathers another kind of holographic
objects, fragments and trinkets of imagination collected from the world De Kezel has been
constructing. Across Larval Tears, forms reiterate and return at shifting scales or
materialities, as if remembered imperfectly. A crystal refracts a landscape, a tear becomes a
cave, and an insect-sized girl reaches towards a glimmer hidden in the moss.
— Text: Anna Laganovska, Julie De Kezel





























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