Ambiguous landscapes
Ambiguous landscapes
revolve around the idea of a) landscape as a kind of ornamental construct: a repetitive structure, fabrics or texture and b) about this repetitive structure expanding into endless space/ void landscape.
If I imagine an ornament moving towards abstraction, I visualise repetitive motifs dissolving in space. It´s impossible to view it because it is too big. It is only possible to imagine it.
In my drawings, this idea is represented, for instance, in (water)mirrorings or shadows; Horizontally or vertically multiple motifs generating endlessness…
Technically I collage the delicate Chinese rice paper and layer it 'perspectively' in the way 'real landscape ' seems tob e layererd for the viewer.
I use commercially available rice papers and imitate a similar colour by applying lucid ink on a white paper. I apply gold leaf on roughly structured papers 'imitating' the mechanically applied gold speckles that are traditional features oft he finest grades of rice papers.
Those gold speckles might just be gold speckles
or they could capture the reflection oft he sunrays in a bright turquoise sea
or – in case one turns the format around/ does a handstand – they´ll become the sky…
In these works I experimented with the materials and the different idea of perspectives in Western and Eastern culture, constantly overlapping and merging both influences.
revolve around the idea of a) landscape as a kind of ornamental construct: a repetitive structure, fabrics or texture and b) about this repetitive structure expanding into endless space/ void landscape.
If I imagine an ornament moving towards abstraction, I visualise repetitive motifs dissolving in space. It´s impossible to view it because it is too big. It is only possible to imagine it.
In my drawings, this idea is represented, for instance, in (water)mirrorings or shadows; Horizontally or vertically multiple motifs generating endlessness…
Technically I collage the delicate Chinese rice paper and layer it 'perspectively' in the way 'real landscape ' seems tob e layererd for the viewer.
I use commercially available rice papers and imitate a similar colour by applying lucid ink on a white paper. I apply gold leaf on roughly structured papers 'imitating' the mechanically applied gold speckles that are traditional features oft he finest grades of rice papers.
Those gold speckles might just be gold speckles
or they could capture the reflection oft he sunrays in a bright turquoise sea
or – in case one turns the format around/ does a handstand – they´ll become the sky…
In these works I experimented with the materials and the different idea of perspectives in Western and Eastern culture, constantly overlapping and merging both influences.