Hurpia’s practice unfolds on foot, employing walking as a methodology for posthuman phenomenological research - a means of destabilizing the seemingly recognizable by situating the body within a world of co-constituting forces. Here, the walker is not a detached observer but a participant in an environment thick with nonhuman agency, where perception itself becomes an event produced between human and more-than-human actors. These itinerant investigations give rise to his invisible structures, speculative tools, and divinatory rituals, each one probing the liminal space between what is sensed and what remains imperceptible.

 

For him, Walking is a form of embodied speculation. It is a process of constructing narratives and systems that unravel when confronted by the empirical frameworks of the map, the laboratory, or the archive, revealing the friction between scientific certainty and the enigmatic unknown. By tracing routes that reimagine instruments designed to measure natural phenomena: geophysical anomalies, landslides, sound waves, or telluric currents - he explores moments where the imperceptible breaches the surface of human awareness, often through visceral bodily encounters or environmental upheaval. The very ground beneath his feet becomes both subject and collaborator.

 

These durational investigations interrogate the binaries that frame our understanding of reality: fact and fiction, material and myth, observation and imagination. The rhythm of the walk becomes a tool for dissolving these boundaries, allowing for a state of heightened receptivity where the landscape’s own stories, histories, and speculative futures can surface.

 

His work thrives in this traversed ambiguity, rejecting definitive conclusions to instead amplify the tension between the quantifiable and the conjectural. The resulting pieces remain deliberately unresolved, carrying the residue of the path and the questions encountered along it. By destabilizing boundaries between self and world, path and map, the known and the felt - he invites viewers to become fellow travelers, confronting the fragility of their own interpretive frameworks. The work thus implicates the audience in the construction of meaning - a collaborative act of re-walking, questioning what is known, assumed, or imagined.