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THE SPLITTING OF A POINT

2026, Environment
Final exhibition of the three-month residency programme at Artists Unlimited, Bielefeld

THE SPLITTING OF A POINT consists of the following parts:

BASEMENT

AMPHI-THEATRICALLY (IRIS / POND)
Bluetooth earbud case, pair of seashells, tin, clay, glass sphere, glass display case

DILATING (AGENTS)
Four-channel sound work, variable duration; four autonomous tracks on wireless speakers, handheld mirrors in niches within the space

COUNTERCLOCK BODY DUBBING
Five-part (double) self-portrait; billboard paper on KAPA foam boards, solvent, ring mount

CURRICULUM (NEGATIVE SPACE)
Two clipboards with prints beneath wax, each 23.5 × 32.5 cm

FIRST ROOM

RARE TIME WINDOW / SUN-SCORES
52.0211773, 8.5396546, Nr. 1, September–Oktober 2025
Notation; pencil, chalk and wax on paper

CARRIERS / REALIZED TRACKS
Floor intervention; packaging from circle templates, chalk pigment, holographic eyeshadow, shell and cuttlefish dust

SECOND ROOM

DEADSTOCK
Clipboard, print beneath wax, copper key ring, 23.5 × 32.5 cm

RENDERING COMPONENT VALUE (RAYS)
Charcoal, wax and coloured pencil on nutritional tables torn from a book, 20 parts, each 20 × 20 cm

CURRENTS
Read daily newspapers, cuttlebones, copper wire, acrylic medium, sepia pigment

HARMONY OF THE DAY (RESIDUE, LINE 25)
Page torn from Albert Camus’ The Stranger, transparent sleeve, clay, chalk

SUB-LINES
Curved wooden strips, sepia ink, imprint of the burnt-out lines from page 59

SECOND & THIRD ROOM

LESS THAN SECOND LITFA (SPLIT COVER)
Two-part print on billboard paper mounted on empty paper rolls, each 121 × 9.5 cm; holographic eyeshadow, shell powder

THIRD ROOM

REALTIME OTHER (IMPACT INDEX)
Video, 11 min. 46 sec., sound, loop

DEPOT (SCALING)
Empty paper rolls, glass tube, copper sheet and wire, tape, wax, sepia drawing ink, cuttlefish dust, ink, pigments

PERMEATED MEMBRANE SERIES (COMET ISON IN TRACHEA)
Baryta print mounted on aluminium Dibond, 20 × 15 cm

ENTRY / EXIT

DROWNED TIME / FOCUS TIME (POWDER OF THEIR BEING)
Material assemblage, scan behind glass on wood, 21.5 × 30.5 cm

ACROSS ALL SPACES

DOUBLER-MULTIPLEX (TRIGGER TO TEARS)
Five-part photographic series as a spatial intervention; billboard paper, variable dimensions

OUTSIDE

OPEN CALL (UNKNOWN CULTURES / DRAKE EQUATION)
Identity poem / text work,
Courier 28 pt., billboard, 358 × 252 cm, Viktoriastraße, Bielefeld

THE SPLITTING OF A POINT extends across four rooms, the basement of the exhibition space and a billboard in public space. Its starting point is the building’s history as a former paper factory and later a radio broadcasting facility—two infrastructures for producing and disseminating information.

Paper becomes the medium of splitting: it absorbs light and ink, stores a point and distributes it in different directions. A point can be a moment in time, a position, a drop, a pixel or the end of a sentence; depending on the perspective, it appears microscopic or planetary. The works follow these shifts between the body’s interior and the cosmos, the seabed and the sky, material trace and dataset.

Light forms a structuring basis for time and perception. It regulates circadian rhythms, generates images, scans surfaces and makes scientific data legible. Sunlight meets projector, tanning bed and display; natural rhythms meet the artificial time of the clock. Drawings emerge in response to the weather, a body bears the doubled hour of the clock change as an imprint, while a synthetic voice emerges from that very interval.

Surfaces are repeatedly scanned, mirrored, illuminated from within, coloured or split. Envelopes detach from their contents, images develop doubles, and scientific markers generate images of things that would remain invisible without technical mediation. What has been divided appears as a generative state. The split point becomes a potential on a timeline: a small fragment that refers to larger systems and, depending on its scale, can extend into body, landscape or cosmos.

BASEMENT

AMPHI-THEATRICALLY (IRIS / POND)
Bluetooth earbud case, pair of seashells, tin, clay, glass sphere, glass display case

An open earbud case, a technical prosthesis for receiving an invisible data stream, encounters a pair of seashells and synchronises with its organic double. At the centre, a glass sphere refracts the image of its surroundings like an iris. Light, hearing and reflection overlap at the centre of the dark room. The display case becomes a miniature amphitheatre, at whose centre a stream seems to have formed that subtitles the space itself.

BASEMENT

DILATING (AGENTS)
Four-channel sound work, variable duration; four autonomous tracks on wireless speakers, handheld mirrors in niches within the space

DILATING denotes an expansion without loss of form - like a pupil widening in the dark to take in light. The structure remains intact; only its dimensions change. At the centre of the work is a nocturnal dialogue with ChatGPT during the doubled hour of the change from daylight saving time to standard time—an hour that exists both once and twice. The text is spoken by a clone of my voice in different tonalities and distributed across four autonomous speakers in the basement. There, the voice detached from the body encounters displaced mirror images of the room above. Like a pupil in the dark, the work expands without losing its form. The doubled hour becomes an interstitial space between two versions of the same time and of one’s own self.

BASEMENT

COUNTERCLOCK BODY DUBBING
Five-part (double) self-portrait; billboard paper on KAPA foam boards, solvent, ring mount

During the doubled hour of the clock change, the negative form of a circle template is fixed to my shoulder blade and exposed to artificial UV light in a tanning bed. The imprint subsequently fades and is documented photographically; graduated digital sepia filters reverse this process visually.

Sepia connects the series to an older material history of colour: the ink originally obtained from cuttlefish ink contains melanin, as does human skin. A material continuity of colour emerges between animal and human bodies, while its digital afterlife exists only as a filter evoking aged time. Although contemporary sepia filters are generated entirely synthetically, the term still carries notions of the past, memory and aged time.

The photographs are arranged like calendars - multiplied envelopes of a self that responds to the encounter between circadian rhythms and the artificial temporal order of the clock change. The work shifts the logic of the sundial principle: the cultural template of the clock change replaces the marking of the sun’s position through light and shadow. Artificial light inscribes a culturally defined moment onto the body. Fading colour, light and time act as performative agents. The photographs show self-portraits within the infrastructure that structures the self’s temporal perception.

BASEMENT

CURRICULUM (NEGATIVE SPACE)
Two clipboards with prints beneath wax, each 23.5 × 32.5 cm

Photographs of technical circle templates capture the moment when a camera flash fills their empty circular forms with light. The template, originally a tool for precise repetition, becomes a guide for another form of reproduction: each negative space can be filled with light for an instant and duplicated as an image.

FIRST ROOM

RARE TIME WINDOW / SUN-SCORES
52.0211773, 8.5396546, Nr. 1, September–Oktober 2025
Notation; pencil, chalk and wax on paper

In my ongoing series RARE TIME WINDOW / SUN-SCORES, the fleeting position of the sun is notated on paper through the shadows of circle templates fixed to windows.

Circle templates fixed to a window project their moving shadows onto paper. On sunny days, I return to the same position and trace the continually shifting outlines. A notation of the sun’s position and its rays within fixed points, in which a hand traces the moving shadows of the translucent circle template and the body becomes a sundial. A return with my body to the same position, to the fixed point of the installed circle template, to produce an imprint, to measure my relationship to an ever-present but intangible planetary movement.

The technical template, originally manufactured for the exact repetition of geometric forms, encounters a movement that cannot be fixed. Overlapping circles disintegrate into wandering species of forms; precision gives way to drift. From fixed positions emerge fleeting spectra, burning cellular grids, a perforated structure that disintegrates over time. Within fixed structures, small changes become visible; the body acts more slowly or quickly in capturing them. What is captured is also an imprint of my changing relationship to it. The structure projected by light fades and falls apart; organic chaos unfolds within.

Drawing becomes a time-based practice, a speculative form of documentation akin to recording the weather, in which the sun’s course determines the moment of capture, binds the circadian rhythm to the planetary rhythm, and aligns life-form and work-form with one another.

FIRST ROOM

CARRIERS / REALIZED TRACKS
Floor intervention; packaging from circle templates, chalk pigment, holographic eyeshadow, shell and cuttlefish dust

The packaging of the templates used in SUN-SCORES remains on the floor as empty carriers. Their absent forms are occupied by pigments and pulverised remnants from bodily, cosmetic and marine contexts. What was previously the envelope of a standardised form becomes a container for the material residues of other systems.

SECOND ROOM

DEADSTOCK
Clipboard, print beneath wax, copper key ring, 23.5 × 32.5 cm

An arrangement of goods is scanned from a promotional brochure for supermarket shelving and digitally emptied of its products. What remains is the infrastructure of the display - a grid for something that is no longer there. A circle from a technical template returns within it as a copper key ring. Container, packaging and carrier become visible as soon as their contents withdraw.

SECOND ROOM

RENDERING COMPONENT VALUE (RAYS)
Charcoal, wax and coloured pencil on nutritional tables torn from a book, 20 parts, each 20 × 20 cm

At night, a sundial is transferred onto nutritional tables removed from a book using the artificial light of a projector. Two systems of measurement meet: the quantification of time and the quantification of food. The sun underlies both. It determines the time of the sundial and provides the energy for the growth of plants whose components are later recorded as nutritional values. Yet neither the measured hour nor the numerical table fully describes how time or food is experienced bodily.

The infrastructure of timekeeping through the sundial overlays the tables, breaks through the existing grid and shifts their order. Columns and numbers become figures of another temporality. Two systems of knowledge overlap, permeate one another and transform each other.

The inventory of individual components becomes a spatial inventory. The tables become a staged form of metabolism within the space. Their columns mirror the checkerboard floor system of the exhibition space; individual fields are marked in red in a rhythm that recalls the arrangement of bricks on the floor. Between order and chance, patterns emerge in which building blocks circulate, connect and produce new relationships. The exhibition space itself appears as a metabolic field.

SECOND ROOM

CURRENTS
Read daily newspapers, cuttlebones, copper wire, acrylic medium, sepia pigment

Read daily newspapers deposit past presents in stacks of paper. A fabric between the private and the public, carrying the current state of an external world indoors on paper. Subheadings, headlines: everyday life driven by ink. Between their pages lie cuttlebones - bodily remains washed ashore by ocean currents, amid an excess of words that announce the new each day while simultaneously becoming outdated. They are inserted between the newspaper pages as placeholders, as figures that refer to their sources. The cuttlebone is itself an archive of time: growth and interruptions are sedimented in its structure. When threatened, the animal produces ink to conceal its body. In the term current, the present and flow bring together two forms of temporal circulation: news streams and ocean currents, paper and ink, the public sphere and washed-up bodily remains, residual bodies of text.

SECOND ROOM

HARMONY OF THE DAY (RESIDUE, LINE 25)
Page torn from Albert Camus’ The Stranger, transparent sleeve, clay, chalk

From the beach scene in The Stranger, in which sunlight, bodily sensation and the reflection on a knife blade trigger a fatal act, only the relationships between solar glare and the body remain. Lines of text have been removed from page 59, the syntax burnt out. The page hangs in the space like a specimen and becomes legible only when the gaze turns upwards and crosses the light. The page remains as the residue of a narrative whose linguistic body has largely disappeared between sunlight as a narrative generator and actual heat.

SECOND ROOM

SUB-LINES
Curved wooden strips, sepia ink, imprint of the burnt-out lines from page 59

Removed lines from HARMONY OF THE DAY return as imprints on wooden strips soaked in sepia ink. Language loses its legibility and continues as rhythm and material trace on the floor.

SECOND & THIRD ROOM

LESS THAN SECOND LITFA (SPLIT COVER)
Two-part print on billboard paper mounted on empty paper rolls, each 121 × 9.5 cm; holographic eyeshadow, shell powder

A blink of an eye encompasses the smallest temporal unit of a moment - an unconscious bodily rhythm that regulates incoming light is detached from my own face and multiplied on paper within the visual order of a grid.

Two eyelids are distributed across separate rooms in mirror symmetry. Mounted on billboard paper and wrapped around empty paper rolls that still bear traces of their industrial manufacture, spectres of distributed information circulate behind the eyelids.

Paper and skin become repositories of different temporalities: while the body keeps time in moments, advertising columns accumulate layers of the collective present as an urban carrier medium that organises the exchange of glances as well as information. As sites of a sedimented present, new announcements cover older ones; paper collects moments until time becomes visible as layers of material.

Holographic eyeshadow migrates from the skin to the image support. Its pigments refract light and generate spatial depth on a flat surface. Their iridescent sheen recalls the prismatic shimmer of the shells in the neighbouring video, where they reappear as prostheses of time.

THIRD ROOM

REALTIME OTHER (IMPACT INDEX)
Video, 11 min. 46 sec., sound, loop

A ticking sound runs through the exhibition alongside the rhythms of the visitors. Only when the steady beat stops or shifts does it return to conscious perception. In the video, an oversized index finger strikes a folding mirror monotonously. A seashell attached to it serves as a prosthesis and an alternative instrument of timekeeping. Its nearly symmetrical halves follow another rhythm: opening and closing, waves and currents rather than seconds and minutes. The finger attempts to enter its own reflection. Measured real time meets a body whose time is organised in cycles and waves.

THIRD ROOM

DEPOT (SCALING)
Empty paper rolls, glass tube, copper sheet and wire, tape, wax, sepia drawing ink, cuttlefish dust, ink, pigments

Materials and carriers from the exhibition gather into a depot of their own production. As components of an image system before or after its use, they form a repository of possible scalings and transfers.

THIRD ROOM

PERMEATED MEMBRANE SERIES (COMET ISON IN TRACHEA)
Baryta print mounted on aluminium Dibond, 20 × 15 cm

Images from two scientific databases are superimposed: a fluorescence microscopy cross-section of a mouse’s trachea and an astronomical image of Comet ISON. Both images use operative colour to make processes beyond direct human perception visible and legible.

In genetics, fluorescent marker proteins are used to make cellular processes visible, causing cells to glow in different colours under a fluorescence microscope. Some of these proteins were derived from a fluorescent protein found in reddish lip coral. The colour that produces visibility thus arises from a material relationship with another organism.

Both images show processes within extensive systems whose scale differs only through the respective viewpoint. One takes place inside an organism, the other within the universe that encompasses that organism. In their superimposition, the scales lose their clarity: the comet appears like a marker within a cell, while the trachea becomes a container of cosmic dimensions. Micro and macro differ only through the standpoint, while colour forms the permeable membrane between body and cosmos.

ENTRY / EXIT

DROWNED TIME / FOCUS TIME (POWDER OF THEIR BEING)
Material assemblage, scan behind glass on wood, 21.5 × 30.5 cm

Micro-components of the exhibition are arranged in reverse on glass and scanned with light: pigments, clock hands, onion skins, parts of clock mechanisms and other circular fragments lose their original scale in the process. As in the stereoscopic production of depth, red and blue meet on a flat surface. The scan becomes the phantom of a spatial assemblage - an inventory of surfaces scanned with light and transferred into a new image. Between drowning and focus lies the hovering, probing movement of losing oneself in a mass of information and bringing a single point within it into sharp focus.

ACROSS ALL SPACES

DOUBLER-MULTIPLEX (TRIGGER TO TEARS)
Five-part photographic series as a spatial intervention; billboard paper, variable dimensions

An ink-soaked onion is divided and doubled by a knife, shadow and reflection in relation to the sun’s position. While the knife physically separates matter, shadow and reflection produce further versions of the same body. Instead of dividing it in two, the knife here produces another form of division or doubling: through its interaction with light, a double of the object emerges in the image. Overlapping layers increase the distance to the onion’s interior. When an opening is made, tears emerge from the human eye - an automatic synchronisation of two openings. The ink connects this process to the cuttlefish, which releases a dark cloud when threatened to conceal its body. As a spatial intervention, an ink-soaked onion discharges itself into the space to escape its own splitting, which unfolds across the architecture. The prints are adapted to the specific conditions of the rooms - around corners, across edges, along the angle of the knife that cuts off shadows and shifts reflections on its blade. Like a perforated wound, the prints are worked into the wall, removing layers of the photographed onion in the process.

OUTSIDE

OPEN CALL (UNKNOWN CULTURES / DRAKE EQUATION)
Identity poem / text work,
Courier 28 pt., billboard, 358 × 252 cm, Viktoriastraße, Bielefeld

A billboard in public space scales from the body’s interior to the vastness of the cosmos. The starting point is a bodily sample sent to the start-up InnerBuddies, whose analysis returns as a dataset of all the bacteria recorded in my microbiome at the time of measurement. The list of bacteria in my body meets the orbits of the solar system and a speculative counter-orbit.

Viewed from a bodily distance from the billboard’s surface, the lines of text form the overall image. It addresses the search for unknown cultures taking place simultaneously in two opposing directions: deep inside the body and far beyond the planet. Technical imaging and data collection promise to make both spaces legible. They capture processes and translate them into data, accompanied by promises of optimised health, extended life, new habitable planets and controllable biological rhythms. Biographies appear as something that can be extended, measured and managed. Knowledge of one’s own body increasingly emerges as knowledge in data - a search for the self in the quantified traces of its matter, habits and cycles.

The work moves between intimacy and disclosure. Working from the genre of self-portraiture, it asks what a contemporary self-image might look like. If identity appears as a dataset, where is the “I”? Are bacterial profiles, metabolic values or genetic information personal representations of the self, or merely material imprints of bodily processes?

As an advertising surface, a billboard in public space promises visibility to a broad audience. Here, the advertising format becomes a site of exposing: a medium that usually generates desire and holds attention instead directs the gaze towards a hidden infrastructure of the body. An intimate dataset appears in public, and the self-portrait dissolves into the populations of which the body consists. While the street remains present through its traffic, sounds and utility networks, a second infrastructure emerges: bacterial populations and metabolic cycles. Two infrastructures overlap: the urban and the bodily.

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JESSICA TILLE

RESSORTS PARATROPICS GHOSTWRITER DROWNING THE SPLITTING OF A POINT HOUR’S GAS PLAYBACK CIRCA DIA

RESSORTS
PARATROPICS
GHOSTWRITER DROWNING
THE SPLITTING OF A POINT
HOUR’S GAS
PLAYBACK
CIRCA DIA