A quality that characterizes heterotopia is the simultaneous clash of different temporal experiences in a singular space. To illustrate, Foucault gives the example of a cemetery as a physical place whose relevance is reserved by its function for a future time after death. A burial ground accumulates temporal experiences of the past, future and present and collides with the reality of our experience of daily life.
To me, the history of the son ta is full of these contrapositions and accumulations of time. The production of a work in lacquer, its history, and how we experience a lacquer object carries this constant collision of the past against our temporality and historical moment. As a cultural artifact, it is more akin to a fossil, a memory that contains in its strata a register of the age, humidity conditions, geographical location, the form of its cultural thought, and the imprint of the hand that produced it. Any object protected by son ta natural lacquer is coated, layer-by-layer with the resin extracted from the earth. Drying depends on the conditions of atmospheric moisture and climate. The lacquer records these conditions through the colors and its transparency when dried, but it is the sanding and polishing, an act of destruction and sculpting, which creates the image or final object. The surface of the image seems delicate and controlled, contradicting the physical, sometimes violent process of its creation. Sweat and heat emanating from the hand gives shine to the surface, bestowing the object a quality of being that seems to transcend time. The resulting object is agency or technology that extends of the physical body of the artisan through time and space through touch. The physical encounter with a utilitarian object of lacquer is an embrace from the hands in the past to the present, a corporeal confrontation of several temporary planes in one space. It is a tactile memory.