Landline / Waterline
Wood, Glass, Soil, Mud, Clay, Stone, Twigs, Leaves, Water, Cork, Tags. 2014-Ongoing.
Dimensions: 4 Shelves 74cm W x 10cm H x 4.5cm D each, 48 bottles 6cm each.
Landline/Waterline comprises a collection of bottled soil and water
specimens pertaining to a particular place in Malta, arranged in separate shelf
compartments. It is an archive of place in the shape of a sculptural installation that takes
viewers back and forth in time. The work references time and seasonal fluctuations in nature
through the accumulation of organic residue.
In total, the installation comprises forty-eight bottles. Half of them contain soil specimens
while the other half contains water specimens - each bottle is labeled accordingly. The
art work is intended to investigate the temporality of place; how time impinges on place. The
soil and water specimens gain the ability to communicate time when enclosed in glass
bottles and placed within compartments. Time appears to flow through the work. Identical
compartments resonate with the ticking of the clock; structured and equidistant. However,
Landline/Waterline is non-chronological. It disrupts time, cuts it into pieces, and re-
assembles it to form a non-linear narrative. As Deleuze and Guattari (1987) assert, the
present constitutes ‘time while passing in the time constituted’. Viewers may engage in a
reading of place at different points in time.
Diverse in their similarities these specimens tell us of the passing of time and this reminds us
of Lefebvre’s (1991) assertion that nature is an indicator of temporality. Landline/
Waterline reterritorialises place and time into a restricted space.
The work forms an imaginary line. The line is comprised of points in
time(s); however, as Merleau-Ponty (2012) argues, ‘[t]ime is not a line...’.
For every moment that arrives, the previous moment suffers a modification: I still hold it in
hand, it is still there, and yet it already sinks back, it descends beneath the line of presents.
The longevity of the project is determined by a full cycle spanning a whole year during which
the place underwent considerable environmental variations. Specimens were collected from
the same place at random intervals over a period of twelve months. The work connects past,
present and future through matter. It constitutes a temporal narrative that is set to continue to
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