Memory plays a significant role in Katarina Pirak Sikku’s multifaceted art practice. The collective memory, including that which has been suppressed and distorted throughout history, as well as personal, individual memories. Nature’s way of recording that which has occurred, in annual rings and barely noticeable traces. It is all included in Vájaldibme – Vandring, which also makes visible the indigenous Sámi people on the campus of the Mid Sweden University in Östersund.
Máttarmuora, a forest of sculptural and vertical high-reaching logs, is reminiscent of forests and Sámi crafts; the engraved tree trunks bear personal memories of carving as a natural way to pass the time and fill everyday life with creativity. In addition, the slow-growing pines have their own history, becoming artistic material after the roots were burned up in a forest fire.
The elongated drawing Almerabda provides an authentic representation of the hiker’s impression of a majestic horizon. At the same, there is an enigmatic element in the work, something that defies interpretation, as is also the case with the tin footprints, Mijá luotta, inset in the floor. There are obvious references to Sámi mythology and a literal encounter between feet crossing the corridor floor and the bare soles of the feet.