In the exhibition Undertow, artist Marina Pinsky extracts and shapes content from calendars, charts, cartographical diagrams and other utilitarian schemes for measuring and altering space, time and everything in between. Inspired by Simian's specific location in Ørestad, under a man- made pond in this newly-built district which was formerly a nature preserve, Pinsky chose to focus on the theme of water as a construction and unifying subject of the works on view. These works act as signposts, pointing to the absurdity of ordering life in relation to the logic of industry.
Color as poison or a sign of contamination is explored throughout a number of works, including a series of hand-painted sculptural objects. These are based on various color charts used for measuring water impurities, in the field—Plein Air (Forel-Ule-Scale Fan), the home—Plein Air (Cyanide Comparator Fan) and the body—in this case one regimented by the food industry— Plein Air (Salmofan).