Working across a wide range of media, including sculpture, drawing, film and text, the element of absurdity to be found in everyday experiences is linked to the methods of the Situationist dérive in the work of Tarje Eikanger Gullaksen. Seeking to displace the usual meanings of things found in urban spaces, one representation merges with another to form a juncture. This displacement often happens between two figures or histories to tell these stories anew.
Moreover, Gullaksen’s critique operates within the act of translation. He reflects on the revisionist potential of language construction as though relaying the itinerary of the translator on tour, who is careful to acknowledge slippages between meanings and points out the potential in things left out of context. In the course of his spatializing narratives, Gullaksen reveals the inevitable incompleteness of a translation process, only to leave behind potently ambiguous, recycled composites in material form.