Déjà Loin

Starting point of my three-dimensional works are rhythmically interdependent processes, characterised by inspiration, passion, curiosity, necessity (as an artistic gesture) and time.
An image develops as a connection between reflection/thinking and action. « Le signifié et le signifiant contractent un lien»[1](sign and meaning form a unit.)
Following the “pure idea/original spiritual element of all things”[2]the sign finds its way to an independent, distinct and at the same time universal or original language. I would call my works “borderliners” or as well cross-borders, migrants. Again and again, they depart, question, in search for new territory. Visual expression originates from the idea and becomes the representation of artistic research.  Every fragment of my work submits to an order, a wilful structure.
Time and present are reflected by countless, constantly accumulating signs. The materials used vary: Paper, transparent paper, Japan paper, rice paper, cotton gauze, tulle, just to name a few. For me, they are very close to the term/concept of skin. They are life-like, permeable, in dialog with “the other”, the “outside”, carrier of an expression, of manipulations and of a constantly repeating and nuanced writing. Similar to processes of growing, these materials become a living organ. 
The eye encounters delicate membranes. They are drawn, smooth, hurt, permeable, and silent. Layer for layer is applied, removed, superimposed, carefully grinded down, torn, newly added until the result appears.  But this final image is just an illusion, it is the search in the studio, constant movement and finding. „Le moment où je parle est déjà loin de moi“ (Nicolas Boileau, art poétique; 1674). It is important for me to create large reliefs and installations (landscapes of material) that can be experienced physically. The works seem delicate, vulnerable, foreign and fragile but this sensitivity represents force --  timeless and independent, complementary to an accelerating present, overstimulated by impressions and images. 
The paper works appear immaterial and carried away questioning familiar sights.  They reflect the topic of transience and permanence in a subtle way. Apparent breaks or errors serve as important elements of the composition. The material paper represents light, but also the finite nature and fragility of existence.  Following this approach, the artistic process finds form through transformation, the drawing becomes relief, object, sculpture and installation -- hermetic, poetic, silent landscapes. Floating in the form of an installation, they oscillate and interact, hardly noticeable, with the breath and movement of the viewer or the air circulation of the room. My artistic process and the visible work develop over long periods/years, a delicate thread, stretched between permanence and entropy, towards the creative act in the sense of an unconditional necessity. 

[1]Ferdinand Saussure (1857-1913), Cours de linguistique générale, Wiesbaden, Harrassowitz, 2, 1968, p. 272.
[2]  According to Giorgio Vasari (1511-1574)
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