Eclectica Contemporary

Two Solo Exhibitions

Lars Fischedick: Controlled Rupture

Lars Fischedick’s new body of work explores the physical and conceptual limits of material through a dialogue between precision and raw force. Working with wood, resin, and metal, the artist transforms surfaces into charged fields of tension, structure, and disruption. In Controlled Rupture, the exhibition brings together a series of works in which timber is carved, fractured, layered, and reconstructed, revealing the hidden energies that exist beneath seemingly stable forms.

Fischedick’s process begins with direct intervention into the material itself. Using both precision tools and the primal force of the axe, he cuts into wood surfaces, generating dense networks of incisions, planes, and angular ruptures. These carved structures are then combined with resin and metallic elements, creating compositions that oscillate between control and instinct, engineering and gesture. Every mark becomes a visible record of force applied to matter.

Geometry plays a central role throughout the exhibition. Grids, radiating lines, intersecting planes, and faceted forms evoke architectural drawing, mapping systems, and engineered structures. Yet these precise elements are continually challenged by the expressive violence of the carved wood. Order and disruption coexist, suggesting systems under strain, forms in the process of becoming, or structures pushed to their threshold.

In works such as Interferenz, finely calibrated linear systems collide with fractured surfaces, generating shifting optical tensions as the viewer moves. The Folded works introduce sculptural dimensionality, transforming the wall into an architectural plane where surfaces bend, split, and project outward. In the Dark Matter series, densely carved fields suggest compressed geological mass, interrupted by sharp geometric insertions of metal and resin that imply concealed structural energies.

Rather than representing rupture metaphorically, Fischedick embeds it directly within the material. The works emerge through acts of cutting, splitting, layering, refining, and rebuilding. Matter becomes both subject and witness to its own transformation.

Presented together, the works create a dynamic spatial environment in which texture, geometry, and light continuously interact. Carved surfaces absorb and reflect light in shifting ways, revealing hidden depths, edges, and subtle transitions as the viewer moves through the space. The exhibition invites viewers to experience the charged relationship between precision and disruption, discipline and instinct, construction and collapse.

Controlled Rupture ultimately reflects on the unstable nature of systems—material, architectural, and social—and the forces that shape, fracture, and transform them over time.

Jasirah Sayed: All the Places Inside Me

Jasirah Sayed’s practice unfolds through a layered meditation on memory, identity, and cultural inheritance, using the Persian garden as both metaphor and architectural framework. Across floating tapestries, sculptural stretched canvases, and printed wooden collage panels, the artist constructs immersive environments where fragments of personal and collective history are gathered, suspended, and reassembled into shifting visual narratives. Drawing from family archives, handwritten texts, decorative motifs, and photographic transfers, her work inhabits the space between remembrance and reconstruction.

At the centre of Sayed’s practice lies the symbolic language of the Persian garden, historically conceived as a place of reflection, order, cultivation, and spiritual retreat. In her work, however, the garden becomes less a fixed architectural form than a psychological and emotional terrain through which memory moves. Pathways, borders, repetitions, and fragmented geometries emerge across surfaces like traces of lived experience, suggesting identities shaped through migration, hybridity, and the accumulation of intimate histories. The garden functions simultaneously as sanctuary and threshold: a site where inherited narratives are preserved while remaining open to transformation.

Her suspended tapestries move through space like drifting pages from a collective archive. Stretched fabrics carry faint impressions of photographs, writings, and ornamental forms that appear partially obscured, eroded, or dissolved into the surface itself. Rather than presenting memory as stable or complete, Sayed allows it to remain fluid—stretched across fabric, embedded within material gestures, and fragmented through acts of layering and transfer. The works resist linear storytelling. Instead, they operate through atmosphere, texture, and emotional residue.

Influenced by the lives of her parents, friends, and surrounding community, Sayed’s practice becomes rooted in lived history without becoming documentary. Personal archives are transformed into spatial experiences where private memory folds into broader questions of belonging, displacement, and cultural continuity. Fragments of domestic life, architecture, handwriting, and landscape appear and disappear across her compositions, suggesting the instability of recollection itself. In this way, the work occupies a space between intimacy and collective memory, where the personal is never entirely separate from the cultural.

The wooden collage panels extend this dialogue between fragility and preservation. Through layered printmaking processes, photo transfers, and geometric compositions, Sayed constructs works that resemble contemporary miniature paintings or architectural relics. Their surfaces carry the visual language of ornamentation and pattern associated with Persian visual traditions, while simultaneously incorporating contemporary imagery and autobiographical references. These collisions between historical aesthetics and personal narrative generate a visual language that feels suspended between temporalities, neither fully archival nor entirely contemporary.

Materiality plays a central role within the work. Torn edges, stretched surfaces, faded transfers, and translucent layers evoke the unstable nature of memory itself—how histories are carried, altered, and continually rewritten over time. The physical construction of the works mirrors the emotional and psychological processes they explore. Nothing appears fully fixed. Images drift, texts dissolve, and forms fracture under the weight of accumulation and time.

Yet despite this fragmentation, there is a quiet sense of cohesion running through the practice. Like the pathways of a Persian garden, the works guide viewers through moments of reflection, rupture, and return. Sayed’s environments invite slow looking—an immersion into spaces where memory becomes tactile, architectural, and deeply human. Her work does not seek spectacle. Instead, it offers a contemplative language of material intimacy, where histories are carried softly across surfaces, gestures, and suspended forms.