Landscapes can evoke “a joy close to pain when the blue is deepest or the clouds are doing those spectacular fleeting things so much easier to recall than to describe,” writes Rebecca Solnit on A Field Guide to Getting Lost. Benedikte Klüver elaborately textured, yet minimal compositions evoke fields and spaces through rhythm in colour. Felix Yang’s works mixes techniques, lessening distance through exploration. His vantage point affords him to arrange shapes and colors anew. “Every love has its landscape. Thus place, which is always spoken of as though it only counts when you’re present, possesses you in its absence, takes on another life as a sense of place, a summoning in the imagination with all the atmospheric effect and association of a powerful emotion.”

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Through the exhibition, different landscapes are grasped and spaces constructed, grounded on a shared approach through deep material, color and shape explorations. So, too, the collective field created by the artistic positions hint towards transition and motion. Michel-Rolph Trouillot wrote in Silencing the Past that “The individual can only remember the revelation, not the event itself.” Memories are unreliable, transient. Rather than a ceremonious attempt to recount, Memory Fields leniently explores ways in which gaps are unpredictably bridged.