Caroline Turner is an artist currently based in Eugene, OR. In addition to her studio practice, Turner co-founded IRL Gallery in 2016 with Ian Anderson, an exhibition space that blurs the line between seeing art in real life and viewing documentation online. Solo exhibitions include Solarsteading in Marielandia at OTOT Studios, Cincinnati, OH and Banks of the Calcarine Fissure at Neon Heater Gallery, Findlay, OH. Recent group exhibitions include I am thankful to be a ghost now, Aldea Gallery, Bergen, Norway; The Wired, Alice F. and Harris K. Weston Gallery, Cincinnati, OH; Fresh American Art, Art Me Today, St. Petersburg, Russia; and Broken Dreamz, Kunsthalle Am Hamburger Platz, Berlin, Germany.
Hinterland is a proposition; a speculative state of being—a conspiracy. It is an arch, a gate, and a portal; congealing time and collapsing itself into the present. A hinterland is typically thought of as the less developed land next to a port, city, or coast; but it can also be understood as the limitations of knowledge, that which is unexplored and ill-defined. In the hinterland lies opportunity: to reimagine, to reorient, to build something new.
Perhaps there is a crisis in our current state of beliefs; in our inability to imagine a new way of being in the world. While we are busy sacrificing to Moloch, failing to coordinate at the planetary scale, it’s important to remember that it hasn’t always been this way. A compounding series of metaphysical mutations in our deep history as humans has created our world today.
There is solace knowing that nothing lasts forever. If we created this world, then we can create a new one, too. What if we could go back to a time before our smooth-brained system of exploitation and uber financialization? To a time before the invention of nuclear arms? Before the invention of reason and rationality—and Science as we understand it today?
What if we could go back to a time when magical ideation intuited episteme? Before Christianity swept through the Roman Empire at the height of its stability and control? To a time before the first seed was sown? Before the first symbolic gesture; before an image was painted on a cave wall? What if we could go back to a time before the first stone tool was chipped into form?
Of course, we can.
The future is not that which is uncertain; it is the past. The hinterland is not the sundown horizon, it is the daybreak we have yet to contemplate.