This value – that natural materials have their own laws and energies, that they work on our senses – was espoused by William Morris, the figurehead of the British Arts & Crafts Movement, which arose out of the rampant industrialization of the Victorian era, and sharply critiqued its alienation of people from the organic rhythms of their time, labor, and materials that had hitherto shaped their lives. It’s beautiful, you would’ve seen - and it’s all around stakes out a similar position, amidst a new major shift in temporality, labor, and relationship to materiality induced by the rise of technology. 

Through their unique uses of oak, both Kim-Gustafson and Pernot present works that contest the increasing immateriality of our present, and engage with notions of deep time as it is imbued in wood and stone, conjuring the eternal cyclicality of nature, the seasons and matter.