The group of thoughtless

porcelain vases, screen prints  2021/2022

The Group of Thoughtless is a vase collection, each of which was created from a chocolate figure that I transformed into porcelain and I bit off each figures‘ head before firing.

 The first bite of a chocolate figure attracts us most because we want to know for sure if there is some surprise inside, for example some tasty filling. By biting off the head of each figure, I damaged it, but at the same time we got access to the hollow inside, which in the form of a vase can have a specific function. This destructive act has thus given us something new - and perhaps even more useful?  

Lost in the structure

drawing 200x100x10cm  2021

Will a drawing lose or gain some of its value if the paper becomes crumpled? Scribbling, doodling or even crumpling paper are emotionally soaked activities that somehow help us deal with our turbulent emotions. While the child’s scribbling is generally a sign of joy and creativity, in adults it is a behaviour which like the biting-off the heads of chocolate figures can be described as a kind of obsession. Scribbling and crumpling paper therefore breaks down some of the established mechanisms of out thinking.

And this protest against the established norm of not scribbling or crumpling serves precisely to weaken our stormy emotions. A heap of balls of crumpled paper that doesn’t mean anything to us anymore may remind us of the dissatisfaction with the quality of our work, and a cocoon of tissues or receipts in our trouser pocket reminds us of the fear or boredom we tried to overcome through calming crumpling.

In case of “Lost In The Structure”, which seems to look like a crumpled scribble, this destructive crumpling allowed the paper to bulge and so give it another physical dimension.

 

Be in touch

paper collage 2020/2021 180x100x15cm

Transformation through wringing, wrinkling and crumpling is further used in works called Be In Touch. Here, I have used the plasticity of silk paper to create clumps of different structures that are meant to not only visually but also haptically overload the viewer. The viewer shall be immersed in their own complexity.

 

 

Sediments Collection

2017- till now

I am sure you know this annoying scenario: You are packing a box and you happen to touch the sticky tape. Your fingerprint will stay there forever as a DNA stamp which says who packed the box.

 Through contact with a sticky tape my hand leaves small particles of skin and cells on the surface, which creates an imprint.  The same situation happens when I touch unshaved wood, for sure I will get a splinter. Probably my body will be infected when I inhale in an infected environment, and also when I exhale, my pathogens will be spread out into the environment again. Therefore, we are not at all separated from the surroundings and they are not separated from us.  The same also applies to objects themselves. As Ruba Kathrib stated in her essay „Materials, Talking and Walking: Pakui Hardware“, this shared imprint and transformation of microscopic layers of material, i.e. when materials share the particles with each other and change into something new, marked the beginning of recording touch through a sticky tape and a graphite layer a.k.a. drawing. In case of my long-term project called Sediments, I tried to give the third dimension to two-dimensional drawings, based on the example of the Möbius strip.

The Möbius strip is a mathematical phenomenon where a two-dimensional surface becomes three-dimensional by bending itself, while it only consists of one face and one edge.

The aim of the Sediments was therefore to combine the thesis of Ruba Kathrib with a mathematical concept, on the basis of which the surface can be deformed into the third dimension. For this purpose, the drawing was imprinted on a tape and stretched using frames or constructions, which had the form of planes. Thanks to them, the drawing then took on its final shape.

 

 

Hausfraukunst

Drawings on thermosensitive paper 2019/2020

Upon contact with a hot pot, I will probably get burnt and the formed scar will remind me of this unpleasant situation until it disappears forever.  Artworks called Hausfraukunst were created by touching and moving hot dishes over thermosensitive paper. The hallmark of thermosensitive paper is that the information recorded is not stabile, therefore the created stroke will fade out over time and in the end will disappear forever.

Drawings on thermosensitive paper are for me a metaphor of a Sisyphean cycle of housework. As soon as you finish, it begins again, said Ori Levin. She sees a parallel between housework and video in a gallery space, which plays over and over again in an endless loop. In case of these artworks, it is necessary to accept that compared to cleaning it is impossible to maintain the drawing in any way nor to preserve its original state.

 

 

Space between

Paint, canvas, blind frames 2017/2018

How to finally reach the end of a dark corridor that we don't know where it goes? Fear that we must necessarily overcome before opening a door leading to the unknown. Into fantasy, another dimension or existing reality, or will we return back to the starting point? And is it even possible to return when in life we turn into a different person with each experience?

Artworks under the name “Space between” are based on a crawl tube, which is a typical piece of playground equipment. Black fabric attached to two rings on each end creating a tunnel to the unknown.

The tunnel could be narrow, curved, and if it got tangled up, also impassable. Even as a child, I was fascinated by exploring the world behind an imaginary wall or obstacle, which served as the primary inspiration for these works. For this reason, a combination of blind frames and canvas was chosen, but they were not used as is usual in painting. Here, the symbolic of a painting as a "window" into another reality becomes figuratively real and thus takes on another physical dimension.

How can we explore new opportunities if we don’t dare go through the dark tunnel?