Building on the idea of repetition as a forward movement by Søren Kierkegaard, Rowley configures repetition as a form of change. Rowley uncovers and explores materials through methods of deconstruction, connection, and layering. These gestures and repetitive motions become metaphysical inquiries into the nature of creation. How do internal perceptions manifest in tangible form? What happens through the process of repetition?

along the exact same lines it had been created - under and over

Unravelling, until you reach one million threads

Repetition as a movement forward

Each detachment a rebirth

Each deconstruction a process of creation

– Excerpt from a featured poem by Rowley

Repetition is a Form of Change showcases a compelling body of work created over the past two years. The exhibition blends intricate textile installations and sculptures that balance destruction and creation, repurposing discarded materials into complex works rooted in technical intricacy and narrative depth. Displayed on the ground floor are Rowley’s largest two-dimensional works, where she meticulously disentangles canvas, usually known for its rigid and utaliterian character, into delicate, evocative artworks that play with shadow and light. The works featured represent an evolution of her self-developed deconstruction technique, here expressed in more complex forms. The recurring motif of the circle, symbolises infinity and wholeness, and varies in scale and character across the works. Fibre sculptures on plinths embody a corporeal presence through their layered form, while a tangible manifestation of repetition unfolds through another site-specific installation; Fine strings and wooden posts are woven into a web through choreographed movements by the artist, exploring the intimate interplay between motion, embodiment, and materiality. The basement houses bolder independent works, while displayed materials from Rowley’s creative process offer a glimpse into the development of her techniques.

Repetition is a Form of Change redefines the boundaries between the material and the discursive, carefully weaving the artist’s past and visions for the future. By emphasising repetition as more than a visual motif but as an embodied process, she leans toward its transformative capacity to unsettle established ways of seeing, doing, and being and calls into question entrenched structures and narratives across themes of identity, gender, power, and society.

The exhibition is curated by Soraya Notoadikusumo/ Nadine Snijders, founders of Looiersgracht 60. Installation shots by LNDWstudio. Image courtesy of Looiersgracht 60.

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The finissage included a lecture by Francesca Raimondi, professor of philosophy at Free University Berlin. Prof. Dr. Raimondi’s research spans aesthetics, critical social theory, feminism, and political philosophy, with a focus on how modern forms of subjectification and embodiment are critiqued and transformed through artistic practices. In her talk, Prof. Dr. Raimondi will connect her research to the exhibition’s themes, exploring concepts of repetition, deconstruction, reproduction, and feminist art in dialogue with the artist and her creative process. The conversation between Francesca Raimondi and the artist (followed by a Q&A) can be listened to at the below link:

During the exhibition a sound piece was performed live which had been created through the collaboration of DJ and sound artist Rami Abi Rafi with the artist. The sound piece delves into the nuances of repetitive movements inherent in Sophie’s artistic process and features live sounds, field recordings, and spoken word elements, that capture the rhythmic nature of her work.