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Maree Bracker's exhibition Time: Herstory was an installation made up of five corrugated cardboard sculptures suspended and arranged throughout the gallery. Bracker's works generated poetic metaphors of time and space. The installation was accompanied by text which described in personal terms the implications of these metaphors for imaginative experience.
The strongest of Bracker's works, Time Rings consisted of concentric coils of cardboard, braced and suspended from the gallery ceiling. The rings distorted under the force of their own weight, which awakened the viewer to the ever· present pull of gravity and the attractive forces of the cosmos, also evoked by another work, Pendulum. The rings visually echoed cross-sections of tree trunks, connecting the medium of cardboard to its source and alluding to the ecological crisis without recourse to didacticism.
In tilling her exhibition Time : Herstory, Bracker points to a feminised view of time and history. Such a wedding of time and space is also found in post·Cartesian mathematics and science, a connection developed by German author and theorist, Heide Gottner-Abendroth.
After Einstein, time becomes the fourth dimension of space (spacetime) and independent of speed. Here time is no absolute constant-time as such does not exist, only various times relative to a certain context. Thus 'simultaneity' exists not in itself, but only relative to a certain context...Just as the invention of the atomic clock indirectly eliminated traditional metrical time , which became inhuman machine time, and led to the reinvention of the 'biological clock', so the relativization of time turns the classic-patriarchal linear conception of time upside down.1
The linear, progressive view of time and history under modern patriarchy has been criticised as informing the relentless modernisations of capitalism; the