COWBOY AT SEA: OBJECTS LEFT BEHIND. BY STERRE POMPER
Through found objects and archival material—both real and constructed—the exhibition at the windows of Kleine Gallery explores how a life can unfold through fragments, objects and fabricated histories. It questions the importance of truth in storytelling: when does a story become “real,” and how much does authenticity matter when something still leaves an emotional or psychological impact?
The act of placing a work of art behind glass—whether in a cabinet or a display case—can significantly affect the relationship between the spectator and the artwork. The gaze is a powerful force that shapes our perceptions, our understanding of reality, and our sense of self.
Behind the windows, the story of a character called Cowboy at Sea begins to emerge. A persona that may never have truly existed, yet still leaves behind evidence, memory, and presence. The character becomes a vehicle for autonomy in gender expression, queer liminality, and freedom in general. Once placed behind glass, these objects and narratives shift in meaning; they become artefacts to be observed, interpreted, and projected onto.
When a work of art is placed behind glass, it may be seen as an attempt to control the viewer’s gaze by limiting physical access to the artwork and directing attention toward certain aspects of it. However, the glass may also reflect the viewer’s own gaze at them, creating a disorienting effect that disrupts the power dynamic between the viewer and the viewed.