Daniel Gremme (1996, DE) is a designer, filmmaker, and graduate of the master Non Linear Narrative.
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In The Presence of Absence" explores how the recontextualisation of quarries into nature reserves and hiking hotspots downplays human natural destruction. Grounded in research, the vertically stratified visual essay delves into the levels of exploitation involved, from territorial invasion to extraction and touristic activities, revealing hierarchies and the superior gaze of Western society.
Visions of more sustainable futures often remain theoretical constructs without tangible implementation while energy-intensive methods and high resource consumption still dominate the construction industry, without signs of decline. The ruthless nature of our construction mania is driven by pursuit of capital profit and human benefit.
The project not only reveals the intrinsic connection between these processes but also emphasizes the relevance of raw material perception and consumption. Drawing attention to slate as a focal point, the essay reveals the intrinsic value present in all raw materials. Its intricate layers, delicately stacked upon one another, reflect the complex processes of mineral formation. Shiny imprints, reminiscent of delicate flowers etched into the material, highlight its poetic and historical significance.
Although every piece of slate contains a multitude of imprints, their discovery is accompanied by the loss of others, and therefore a path of destruction. This dynamic between care and violence magnifies the broader management of mines, where gaping wounds in the landscape are recontextualized as hiking trails and nature reserves for certain species.
In The Presence of Absence encourages observers to reflect on the consequences of construction practices, and our perspective on other residents of the planet. It invites them to reevaluate their perception of violence by recognizing its manifestations.
The installation used only leftover materials, except for the canvas - For example sandbags (as seats), as their invention enabled the industry to extract and transport much more material.
Daniel Gremme (1996, DE) is a designer, filmmaker, and graduate of the master Non Linear Narrative.
MAIL
INSTAGRAM
PORTFOLIO
hello@danielgremme.com
@danielgremme
here
In The Presence of Absence" explores how the recontextualisation of quarries into nature reserves and hiking hotspots downplays human natural destruction. Grounded in research, the vertically stratified visual essay delves into the levels of exploitation involved, from territorial invasion to extraction and touristic activities, revealing hierarchies and the superior gaze of Western society.
Visions of more sustainable futures often remain theoretical constructs without tangible implementation while energy-intensive methods and high resource consumption still dominate the construction industry, without signs of decline. The ruthless nature of our construction mania is driven by pursuit of capital profit and human benefit.
The project not only reveals the intrinsic connection between these processes but also emphasizes the relevance of raw material perception and consumption. Drawing attention to slate as a focal point, the essay reveals the intrinsic value present in all raw materials. Its intricate layers, delicately stacked upon one another, reflect the complex processes of mineral formation. Shiny imprints, reminiscent of delicate flowers etched into the material, highlight its poetic and historical significance.
Although every piece of slate contains a multitude of imprints, their discovery is accompanied by the loss of others, and therefore a path of destruction. This dynamic between care and violence magnifies the broader management of mines, where gaping wounds in the landscape are recontextualized as hiking trails and nature reserves for certain species.
In The Presence of Absence encourages observers to reflect on the consequences of construction practices, and our perspective on other residents of the planet. It invites them to reevaluate their perception of violence by recognizing its manifestations.
The installation used only leftover materials, except for the canvas - For example sandbags (as seats), as their invention enabled the industry to extract and transport much more material.