Timur Si-Qin, ‘Trust the River’: Reimagination of Nature & Technology

In the modern age, our connection to the natural world is seriously strained. As a result, we face the stratification of nature versus technology. But, Timur Si-Qin doesn’t believe these two have to intrinsically remain separate. There is much to be said about the ways our Earth influences tech and vice versa. Timur’s solo exhibition, Trust the River, opened in London on the 21st of November, 2024 and presents us a direct statement. His works compel us to focus on the details as a form of meditation, and express why it is so vital that we re-centre our relationship to Earth.

Timur Si-Qin was born in Berlin, Germany and raised in Arizona, USA. The artist’s creative practice was directly impacted by his German, Mongolian/Chinese upbringing. Only to be further informed by his step-father’s San Carlos Apache Native American heritage. Thus vibrantly colouring his relationship to the natural world and underlining its importance in not only his day to day, but the trajectory of his artistic practice.

The artists’ interests focus around the evolution of culture, dynamics of cognition, and contemporary philosophy as they interweave and overlap. Thus creating a crossroads between machine and spirituality, allowing us a reimagination of the ways we engage with the natural world in more positive and generative capacities. His works, often confronting notions of “New Peace”, propose a “post-secular faith” which redirects our focus onto the sacred aptitudes of the natural world.

Trust the River is an installation of 3D sculptural works consisting of scans he took of the Al-‘Ulā region in Saudi Arabia, as well as the steep Hengduan mountain ranges in Southwestern China. These works showcase the juxtaposition of “human versus non-human”, organic versus synthetic. Installed at the Albion Jeune, this is the artists’ first solo show with the gallery, though not his first in the city. This collection showcases rich artistic multi-medium curation, highlighting pressing themes relevant to the current state of our world.

Can you tell us more about your goals for Trust the River?

I mean… the goal for my whole practice is this idea of seeding a different relationship to the natural world than we do in our culture.

Art is the most conducive vehicle for that.

There’s much discourse about grounding and how people need to get back to physically interacting with the Earth… Many of us will go days, weeks, maybe even months without, but there’s an energy imbued throughout nature that we can feel when we’re physically in it, which people argue is good for our internal regulation.

Do you think it’s possible to replicate that energy by combining technology and nature in your work ?

Yeah I think there are certain frequencies of it that can be replicated. For example, VR works… feeling like one is there.

Of course there are many other dimensions that cannot be replicated, like smell and the electricity, the microbial interactions… you know.

Do you think a sense of smell, like you mention, could be implemented into your future exhibitions?

Yeah. I think if there was ever a way, that would be really cool. I’ve played with sound before, a bit. But you know I don’t think I could ever get properly close to replicating it.

It’s not a goal of mine to go 100%.

Is this your first time presenting a solo exhibition?

I did one a long time ago, called The Premier Machinic Funerary: Part II.

This being a longer standing installation and solo show, how do you feel?

Yeah great, it’s been very nice. Uncharacteristically we finished the installation on Monday already, so it’s been really relaxed.

You express your process fixates on becoming more aware of detail over time, you describe it as meditative. What does this mean?

I think the general idea behind Vipassana Meditation is becoming more and more aware of the details of your experience. Your breath and your thoughts. I took some meditation classes in college and I have a regular meditation process.

My practice of doing these renderings, starts with going to the physical location, photographs, and then I’ll look closer and closer. I’ll notice more details, like a fractal. This is a form of meditation really.

If you could provide any insight into future projects?

Yeah, I’m working on a video game potentially, and a couple exhibitions.

I’ll have a gallery show in Berlin in the spring, and then a show at a project space in Chengdu, China in September.

If you could go back to your younger self before you knew what was coming, what advice would you give yourself?

Oh wow, uh… I’ve never been asked that before.

… Trust the river.

The gallery space invites its viewership into the slightly darkened space, spotlighted wall installations surrounding an ornamental Larch Conifer bonsai tree, entitled, Deciduous Renewer Larix Potaninii. The central piece is positioned on an LED screen, portraying a stream’s movement over rocks as they sit underneath the metal foliage. One of the stand out pieces is a protruding branch, entitled, Rhododendron with Epipytic Lichen (Untouchable Beauty 5), chains positioned from it as they drape downward toward the floor.

Timur’s works have long represented a reimagination of the way we are to tackle issues of biodiversity collapse amidst climate change. Organic forms are represented via all-metal castings, creating an almost alienesque feel to them as you pass by. Base forms flow like robotic waves behind cliffside scans and rock faces. Making it near-impossible to view any of the works from a “bad” angle, as there’s always something more to discover. One of my personal favourites is the work entitled, Embedded Kora. A circular wreath of sorts presents gorgeous florals and unbelievable detail. Only becoming more compelling the closer you get. The collection presents, “a faith in the meandering, and ever-renewing genesis of the natural world”.

Featured in solo exhibitions spanning myriad European countries, the United States, and Asia, Timur Si-Qin’s works have been shown globally. Noteworthy venues include, The High Line, New York, Schirn, Frankfurt, Paris; Ullens Contemporary Art Center… among many, many others. The collection culminates around a call to action, recentering nature is the first step in a more spiritually engaged, healthier world. If we are to “Trust the River” we will be better for it, acknowledging the positive impact our relationship to Earth grants us. The collection will remain on display until January 12th and open to the public.

More information here.