Repetition. Rhythm. Cycles.

These three phrases are left in my head after meeting Kezia Pritchard's work, and the artist herself. As an artist, Pritchard takes one step aside and becomes an observer to the surrounding world. Through her works, we move slowly, gliding and controlled in a world where the speed has been slowed down. We observe the world through the eyes of the artist, and see connections, processes, movements and fragments of personal memories. Though her eyes are personal, the themes brought up in her work are universal; communication, relations to physical space, time and speed, visual knowledge and memory, to watch and to be watched.

Like when she as a resident at Lademoen Kunstnerverksted in Trondheim spent 45 working days grinding 326 pieces of chalk into dust, spreading it out on the floor of her workshop, a former classroom. A slow and time demanding process, commenting on both the gaining and breaking down of knowledge (326 Pieces of Chalk (45 days), Trondheim 2006). Or when she, at the Stables Gallery in London, let the viewer observe photos of her through reversed spy-holes, in different hallways, as she was getting ready to leave a private room and enter the world. A moment of truth and honesty before image and the play of masks take over (Insider, London 2006).

Kezia Pritchard's work tends to take the form of installations, often relating to concrete physical spaces. The artistic language is tuned down, unpolished and we feel a tender nearness of the artist. At the same time, the work is depending on the viewer to be fulfilled. Without the viewer's engagement and acceptance of the invitation to join, to physically step into the artwork, the work is only half. Like ying without yang, tea without milk. Hans-Georg Gadamer compares art and play. The rules of the game, and the fulfilment of these through the participants in the game, are the actual foundation of its existence. The viewers contribute with their own thoughts, experiences and physical actions, to fulfil the rules that the artist has made for the artwork. In return the artwork changes from viewer to viewer. This is a brave process where the artist gives up the control and lets the unpredictable rule the work.

Pritchard's work is constantly developing, like ongoing cycles, where every step of the way, either forwards, backwards or to the side, is connected to the previous. Like a dance, a rhythm and a movement. "Life consists of fragments and how you link them together", Kezia Pritchard says. For the time-being she is working with mental spaces, in contrast to physical ones, exploring memories, flash-backs, time and space, experimenting with different expressions, from film and flip-books, to growing plants from seeds.

Siri Reinsberg Mørch