Datadust, skin of sand

Datadust skin of sand (2024) explores the convergence of ancient data and contemporary consumer waste found in archeological research sites of AlUla and Tayma in the northern Arabian desert. The coexistence of high levels of microplastics alongside archaeological contexts forms the starting point of the work cycles.

While in residence in Al-Ula and Tayma with the German Archaeological Institute (DAI) and the Goethe-Institut Riyadh, Kriemann explored the confluence of ancient data and modern consumer waste. In addition to photographing the sites at Al-Ula and Tayma, Kriemann collected period artifacts, including packaging and textiles. The project begins by asking how (micro)plastics relate to ancient artifacts. Datadust skin of sand is her latest work to reflect on this issue.

Datadust skin of sand (Cycle I) critiques our ongoing plastic production and its persistent impact on the environment, featuring silk screen prints of contemporary discarded objects that she collected on-site in Tayma. These prints are created using date syrup and make-up, rich in microplastics, and are then coated with sand, imparting a unique tactile quality. The prints, appearing as recent artifacts, are layered with the essence of both ancient and modern debris. Each grain of sand contains millennia-old data, while the microplastics will mark human activity for centuries.

Datadust skin of sand (Cycle II) features a photographic series in which Kriemann captures the Qurh watch- tower at sunrise, exploring the transition from darkness to light through a performative lens. This work raises questions about the presence of a concealed tower at the mountain‘s summit. By contemplating this hidden aspect, the work metaphori- cally transforms the mountain, high- lighting its unexcavated and unexplored nature. Using geotextile from the excavation site, Kriemann creates screen print templates by removing the sand and creating photograms that incorporate various pigments. These prints depict the mountain, progressively obscured by layers of make-up. Cycle II reflects on how the physical presence of the mountain is erased, resulting in a newly abstracted landscape.