Therin Pethers’ work considers the esoteric. A nativity of sight and the epistemic distance. The work stutters on the threshold of the perceivable. It hovers, resting somewhere between being and non-being. It hangs in the balance. As with Irigaray’s 'wonder’, her work presents a new space-time that constitutes an opening prior to and following that which surrounds, [it] enlaces. By combining her own coding technique with an age-old tradition of draftsmanship (realised through her prints), she pushes images to the extent of the knowable. We sense that to become immortal we have to become immaterial; We have to transform ourselves into light. Her work becomes a suspension of vision, a curious tangle – an abyss. It appears to us as a mirage. It teeters between the sublime and the known. Pethers graduated from City and Guilds of London Art School in 2020 with a first class honours degree and has since exhibited across the UK, in Paris and Copenhagen. Her work is housed in many private collections, including the S&S foundation in Sydney, Australia and the Douglas and Spruce partnership in Brooklyn, New York.
Therin Pethers’ work considers the esoteric. A nativity of sight and the epistemic distance. The work stutters on the threshold of the perceivable. It hovers, resting somewhere between being and non-being. It hangs in the balance. As with Irigaray’s 'wonder’, her work presents a new space-time that constitutes an opening prior to and following that which surrounds, [it] enlaces. By combining her own coding technique with an age-old tradition of draftsmanship (realised through her prints), she pushes images to the extent of the knowable. We sense that to become immortal we have to become immaterial; We have to transform ourselves into light. Her work becomes a suspension of vision, a curious tangle – an abyss. It appears to us as a mirage. It teeters between the sublime and the known. Pethers graduated from City and Guilds of London Art School in 2020 with a first class honours degree and has since exhibited across the UK, in Paris and Copenhagen. Her work is housed in many private collections, including the S&S foundation in Sydney, Australia and the Douglas and Spruce partnership in Brooklyn, New York.
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