Origin of a World reflects on birth, mythology and post-human feminism. It shows a rock-like object
floating above six-legged steal table, that holds a glass vessel and is attached to a circular base with
two glass marbles merged in it. A micro-macro relationship is established through the glass vessel
and marbles, as well as the title (also referencing Courbet’s 1866, L’Origine du monde). I see the blue
glass as something the grey object has given birth to. It’s protected and sealed in a nest below it,
constructed by two metal bars holding it attached to a thin steal plate roof. It feels like an egg or a
pearl, but it’s also a vessel. The hovering object is simultaneously a land and figure, relating to
Icelandic folklore of seeing figures through land, similarly to At the End of an Ocean. The shape is
between a rock and an oyster, with a glass marble sinking into its top. Although the glass marbles are
the smallest components of the sculpture, they can be seen as whole worlds, floating orbicular objects
containing an infinity of stories and connectivities.