Adrian Hermanides

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Violent Surface Motion Installation view, 2008
Violent Surface Motion Installation view, 2008
Sanzu XIV, 2008 Light Jet Print On Paper 100cm X 100cm X 5cm
Suicidal Object, 2007 Single Drop Of Glass 65cm X 1cm X 1cm © Artists Own
Pearl, 2008 Light Jet Print On Paper 200cm X 105cm
Eredac, 2007 Hand Cut And Polished Glass 200cm X 8cm X 8cm © artists own
Eredep, 2007 Glass Bubble Blown With Exhaust Fumes 40cm X 30cm X60cm © Artists own
Corner Breach, 2010 Painted Steel And Glass 140cm X 60cm X 45cm
Brontosaurus, 2010 Falsches Christus Thorns, Cardboard Box 110cm X 70 Cm X 30cm
Anamorphic Mirror, 2010 Polished Steel 50cm X 125cm X 50cm
Alms for the birds, 2009 Various Found Objects Dimensions Variable © artists own
Alms for the birds (detail), 2009 Various Found Objects Dimensions Variable
Alms for the birds (detail), 2009 Various Found Objects Dimensions Variable
Alms for the birds (detail), 2009 Various Found Objects Dimensions Variable
L'Origine du Monde, 2006 Cut Glass 135cm X 400cm X 2cm © Artists own
L'Origine du Monde, 2006 Cut Glass 135cm X 400cm X 2cm © artists own
L'Origine du Monde, 2006 Cut Glass 135cm X 400cm X 2cm © artists own
Intrusion, 2010 Neon, Electrics 240cm X 3cm X 3cm © artists own
On wearing pink and green, 2006 Neon, Chain And Book, Electrical Components 135cm X 5cm X .6cm © artists own
Dimension variable, 2006 Neon, Perspex, Electrical Components, 235cm X 50cm X 10cm
Untitled , 2012 Fine Art Digital Print On Archival Paper 212cms X 152
Untitled (Lost), 2012 Fine Art Digital Print On Archival Paper 200cms X 152
Untitled (Forgotten), 2012 Fine Art Digital Print On Archival Paper 205 Cms X 152 Cms
Untitled (Discarded), 2012 Fine Art Digital Print On Archival Paper 210 Cms X 152 Cms
Untitled (Destroyed), 2012 Fine Art Digital Print On Archival Paper 210 Cms X 152 Cms
Installation view
Installation view
Quick Facts
Harare Zimbabwe
Birth year
18 / 01/ 1972
Lives in
Works in
sculpture, mixed-media, conceptual, photography

L’ Origin Du monde


It’s about sensitivity! Some hypersensitive mechanism that might oscillate... Incoming signals, theta oscillations between two categories of pleasure. The hypnotist-somnambulist relationship concealing the ruling moral dichotomy of good and evil, expressed as darkness and light. Instead, a permeable barrier, marked by portals and niches into which the subject may project herself. She is led to misrecognize the projected shadows of artifice as true objects; voices in the white noise. The word séance can also mean “screening”. Enter the in - between - two - deaths. Here, subtle matter-energy configurations, electric light,  film, optics, radio provoke heightened states of consciousness – the apparatus, as he called it, for making contact with the souls of the dead. Photography, film, and surveillance technologies restore brilliance to the gaze. The screen is here the locus of mediation disavowed, and even impossible. The recognition of incomprehension: the face signifies by refusing the exclusion of the subject from the inner sanctum. A program chosen. A risk for the subject’s pleasure, whether or not the subject wants to watch. Time passes quickly when you are absorbed or in a trance state. Sitting in dark rooms in front of screens, absorbing programmed material. Whatever erupts onto the screen is authentic... luminosity, electromagnetic radiation, the codification of the rainbow interrelated over time. We need to perfect our own biological apparatus. The television is off. The liminality of the screen during the Acephalic revolution as a point of passage and transition ellipsis, removal, reduction, where darkness and public spectacle make the viewer a part of the object of desire. A double process, channelling, suggestion and ego-loss, contagious, mimetic, orgiastic behaviour. A cold, neutral ear informing us – deliver the Mother Code. Mesmerism and the contact field. Ascending holiness. The enigmas of feminine sexuality prefigure a readiness to process ethereal substance. To tune their ear into the voices, a fist knocking on an invisible surface. The only pleasure experienced is the perception of the void conveyed by a woman’s genitals. Mirror phenomena are increasing. Some suggest that they reflect the double as a second self, a counter-self and a ‘mirror’ of

unacknowledged, even unattainable aspects of oneself, taking place in a crypt in Paris. Frequently, I found myself blurring the opposition between the esoteric  and counterfeit as a means of producing a score for a glass harmonic we don’t know how to hear. The horror of inversion, of blankness that is the characteristic property of surface, casts doubts on the notion (and experience) of the self’s unity and identity. Primarily the subject positions itself in front of the transcommunication apparatus, usually in a linear manner  which insinuates a mirroring between apparatus and subject, revealing  fears and anxieties about certain kinds of erotic play integral to behavioural contagion through representation. Memory enables the subject to

maintain the fiction of stable identity. Female genitals have been correlated to various involuntary behaviours – exploration, spatial navigation and alert states, a movement towards becoming unified with, or to be aligned. A fourth state, powers so abstract and unspecified, blankness has gone from a symptom of lack to a potentiality already full of meaning a displacement from the ‘real’ but foreclosed trauma to the imaginary and symbolic.