Dolmen - Structures of Time
Dolmen: Structures of Time proposes a structure through which material, image and perception are encountered as part of a temporal system.
Taking inspiration from prehistoric dolmens, sites in which remains from different eras were held within a single form—the exhibition brings together works that operate across time, where surface, image and process act as carriers of duration and transformation.
Works are positioned in relation to this structure, not as isolated objects but as elements within a broader field, where relationships between past, present and future states can be observed.
The exhibition considers the artwork as a flexible structure, capable of holding and reconfiguring time, material and cultural reference.
Dolmen I - Perception is not stable. These works resist immediate recognition, suspending the image between abstraction and representation. What is seen cannot fully resolve, forcing attention to remain active rather than passive
Peter Schäublin
Dolmen I - End
Photographic Work
Courtesy: Adler and Moriarty
Simon James
Dolmen I - Top
Gesso on Canvas
Courtesy: Adler and Moriarty
SÉAN COTTER
Dolmen I - Right
SÓLHEIMAJÖKULL
Oil on Canvas
Courtesy: Adler and Moriarty
Dolmen II - Matter is not inert. These works register time, pressure and transformation, revealing material as an active participant rather than a passive support. Surfaces carry the evidence of process, where change is continuous and unresolved.
SÉAN COTTER
Dolmen II - Right
DIAMOND BEACH Variant
Oil on Canvas
Courtesy: Adler and Moriarty
Simon James
Dolmen II - Left
Gesso on Canvas
Courtesy: Adler and Moriarty
Peter Schäublin
Dolmen II - Top
Photographic Work
Courtesy: Adler and Moriarty
Dolmen III - Structure emerges as both order and constraint. These works suggest underlying systems, compositional, spatial or conceptual, that attempt to organise perception, yet remain incomplete or unstable
Peter Schäublin
Dolmen III - Top
Photographic Work
Courtesy: Adler and Moriarty
Simon James
Dolmen III - Right
Gesso on Canvas
Courtesy: Adler and Moriarty
SEÁN COTTER
Dolmen III - Left
ICE AND FIRE (SÓLHEIMAJÖKULL'S ASH)
Oil on Canvas
Courtesy: Adler and Moriarty
Dolmen IV - History persists not as narrative, but as residue. These works carry cultural memory within their surfaces, where identity appears through layering, fracture and erasure. What remains is not fixed, but continually reshaped by time
Kaan Ege Onal - Hattusa's Vision
Oil on Canvas
Courtesy: Adler and Moriarty
Kaan Ege Onal - Gentle Rebellion
Oil on Canvas
Courtesy: Adler and Moriarty
Kaan Ege Onal - Gentle Rebellion
Oil on Canvas
Courtesy: Adler and Moriarty
What remains is…
is not resolution, but a shift in how we look. These works resist immediate comprehension, requiring duration rather than consumption. In that time, meaning does not fix itself—it moves, accumulates and fragments. The exhibition does not conclude; it lingers as a condition of seeing, where perception, material, structure and history continue to shape what is visible and what is not.
These works are intended to be lived with over time. Their full presence emerges gradually, through repeated encounters rather than immediate understanding.
Artists
Sean Cotter
Simon James
Peter Schäublin
Kaan Ege Onal
Further information and available works on request