Developed during three weeks in a small hunting village by Disko Bay, Snörun / Ensnare began with Anna Rún seeking out icebergs and bringing pieces of ice ashore, attempting to translate their temporary shapes and embedded information into sculpture.

 

The resulting forms were conceived as three-dimensional material recordings: not replicas of a landscape, but records of a fluctuating moment within the lifespan of iceberg.

 

Across the bay, icebergs appear as white mountains suspended along the horizon. Their scale and apparent solidity can obscure the fact that they are moving fragments of a glacier, carrying geological information formed before the beginning of the last Ice Age. As accelerated glacial calving releases this accumulated record into the sea, the work attends to the interval between separation, melting and continued material circulation.

 

Anna Rún has described the sculpture as a testament to human perception. From a human perspective, the iceberg’s form disappears; materially, however, nothing vanishes. Ice continues through an ongoing cycle of transformation. Ensnare holds these positions together: the desire to preserve a particular form and the recognition that change is the form’s underlying condition.

 

The project connects to Garden through a shared enquiry into how people define nature from within the limits of their senses. When does a natural phenomenon become an artefact, a construction or a record? What is preserved when a transient material state is translated into sculpture? Rather than resolve these questions, Ensnare makes the gap between geological continuity and human perception palpable.