These were never tongues, mais plutôt des pieds pour crapahuter

These were never tongues, mais plutôt des pieds pour crapahuter

The conceptual and sculptural practice of Alberta artist Jason de Haan highlights the diachronic density of nature and the physical world. Using an interdisciplinary approach that combines sculpture, collage, drawing, photography, video, and text, de Haan explores the archiving of time in planetary materiality and connects this deep time to that of cultural history. Symbolically dense and complex, his works reflect a fascination with mythology, science fiction, geology, and geographical sites imbued with forces at work below the threshold of perception. Deeply heterogeneous and impossible to classify, Jason de Haan’s work deliberately places itself in the flow of evolution, interrupting the passage of time with artistic gestures that resonate with romanticism, the sublime, and poetry. De Haan meticulously highlights the movement, transformation, resonance, or sparkle of things on a scale so microscopic that our senses are unable to perceive them. For de Haan, our ephemeral position within the epic dialogue of evolving time scales, coupled with natural and supernatural wonders, offers a productive space to reflect on the difficulty of perceiving the invisible and describing regimes of immeasurable distances.