Statement
Martin Heidegger coins the term „thrown-ness“ (Geworfenheit) for the „arbitrary and inscrutable“ (cited from Wikipedia) nature of the inevitable existence. Together with speech and understanding it builds the basic structure of being.
What do these thoughts offer for the spheres of perception and representation?
The series „thrown-ness (7)“ relies on Heideggers somehow fatalist concept and reveals the inherent aesthetic quality and beauty of thrown-ness by taking it literally.
It shows seven „throws“ of short cords – representing the finite nature of existence – on a reduced black backdrop, in a world that leaves us „like a dog without a bone“ as The Doors state in „Riders on the Storm“. On contemplation, the ever new constellations of the thrown cords show a natural unintended beauty, with a whole universe of associations shining through the profane surface of the lines.
The series comprises 7 units. In medieval Christian mythology the seven represents the totaylity of existence. It is the sum of three standing for spiritual trinity, and the four, which stands for the four ancient elements, that is matter.
The „totality of seven“ parallels the „thrown“ existence, where the concrete single specimens which are „thrown“ stand for the endless variety of possible existences. This changes the perspective, away from the inevitable context, towards the uniqueness of the existence. Or, to contradict The Doors: it’s not suffered fate – it’s a manifestation of potential and possibility.
