Gitter II – a, b, c, d, Zustand 1 von 5, vier Linoldrucke auf Bütten, je ca. 45 x 61 cm (2019)
Linie II, a,b,c,d, / Linie III, a,b,c,d / Gitter I, a,b,c,d / Gitter II, a,b,c,d – je Zustand 1 von 5, Linoldruck auf Bütten (2019)
Kupfersulfat-Einzelkristall auf Kupfersulfat , ca. 20 x 19 x 23 cm, Tonuntersetzer (2019)
Objekt aus Kupfersulfat und Bütten, ca. 40 x 40 cm (2019)
Stickerei, 136 x 237 cm (2019)
Eröffnung am 23.08.2019, 19:00 Uhr
Künstlergespräch 03.11.2019 um 15:30 Uhr
Die Arbeiten der Künstlerin scheinen auf den ersten Blick einer geologischen Sammlung oder einem Forschungslabor zu entstammen. Doch statt der Fundstücke aus der Natur wurden die kristallinen Objekte aus Düngesalzen gezüchtet. Dabei spielen chemische Prozesse eine Rolle, die von der Künstlerin initiiert, begleitet und kontrolliert werden. Neben den frei stehenden Kristallen dient Papier als Unterlage, auf dem die Düngesalze eine Art Kruste bilden. Die so entstandenen Bildobjekte zeigen surreale Landschaften, die fragil und kostbar wirken. Weiterlesen
Working about aspects of cultural landscape I am interested in the interaction between human and nature. Our surrounding landscape is no pure nature anymore, we are influence, we shape it, we create it since ten thousands of years.
Originally I am based in documentary photography. I worked about forest societies, which describe an extremely specialised habitat, about tree groups in botanical gardens and about rural strawberry harvest time in North Germany, where huge selling huts in the form of strawberries change the dimension of observable landscape.
Actually I work with commercial fertilizer salts and grow them back into their natural crystal shape. Mineral fertilizer salts make huge crops possible and are deployed in huge amounts. They let plants grow, increase the quality of agricultural produces, but compromise in production and by use groundwater and soil. Freeing the fertilizer salts from commercial and factual necessities I give them back their genuine crystalline structure. The useful and noxious substance which influences the environment happens to transform into aesthetical quality and follows physical and chemical laws to change into its true manifestation.
Additionally I am currently working about basic asthetic patterns forming visual elements of neolithic ceramics. Humans began to shape their natural surroundings by inventing agricultural techniques in the Neolithic revolution. They had to store their crops,and they decorated their ceramic storage and cooking vessels. In their decorations they used basic aesthetic elements like lines, points, waves and grids, cut into the moist clay. I took basic patterns of lines and worked them into linocuts, cutting repeated lines into groups and grids, exploring their visual qualities by hand, similar to growing crystals which add on in inherent angles. I printed them with earth pigments as a further reference to their origin.
I am interested in basic forms, patterns, given naturals laws and their variations. By artistic intervention and repetition in print, object and installation I investigate crystalline states, the order of series and systems, their structure, their mobility, their requirements in matters of time and their variations, interferences and transformations at the intersection between human, nature and culture.
Ströme II – Aloe vera
Silke Rokitta & Markus Hutter, 2019
Aloe vera, MIDI Sprout, Scheinwerfer, Lautsprecher, Steuerungselektronik