luftig roh
Light spaces and atmospheres are dissolved and recreated. The Latin term natura naturans stands in the foreground. Spinoza thus describes nature’s constantly newly forming and self-dissolving activity. Representated by moving, organic light spaces. Tactile, but intangible. Airy and raw. Reproduced on breathing surfaces, liberated from their usual boundaries.
Their appearances change through the change of their environment. They allow the beholder to freely interpret the intangible forms: Skyscapes, atmospheres, abstract colour formations. A game with metamorphoses, which can arise through the observation of different perspectives.
They find embodiment in nature, it is the stage for metamorphoses and new formations. Ovid describes nature in its beginnings as „chaos“, consisting of a raw, disordered mass. „The air was without light“[1] and everything stood in each other’s way. In his metamorphoses, this mixture was separated when the world came into being. Heaven of earth, earth of water and the dense air of clear sky. Here it comes to the first transformation. The air becomes an ungraspable space that connects everything with each other. In it, the vault of heaven changes under the influence of the flowing air. Light spaces and atmospheres, which arise, float above us. The sense of reverence they can create in us plays a role in the contemplation and reproduction of our environment. But the difference between our sublimity and that of nature is that nature, unlike human nature, is infinite. Kant describes our perception of the sublime in relation to natural events:
Their sight becomes all the more attractive the more terrible it is when we are only in safety; and we like to call these objects sublime because they raise the strength of our souls above their usual mediocrity and make us discover in ourselves a capacity to resist of a quite different kind, which gives us courage to measure ourselves against the apparent omnipotence of nature. [2]
[1]Ovid, Metamorphosen, Reclam, hrsg. Philipp Reclam jun., Ditzingen, 2010.
[2]Kant, Immanuel. Criticism of judgement. Works in twelve volumes, vol. 10, Frankfurt a. M.: Suhrkamp, 1977.
Nothingness
An embodiment of a limbus between „something“ and „nothing“. Something almost indefinable.
A „nothing“ from which „something“ arises.
Néant, clouds.
Néant, nothing/ not to be. That which is not but can be or could be, the possible.
They simulate physicality to the observer, which actually does not exist. They can be passed, through which they physically become „nothing“. They only become visible because of a physical deception, and through the transformation of the tiny, colorless droplets into rain again into „something“.
Niemals wahrhaft Gegenwart
An attempt to reflect time, which is in constant uncertainty. Like rain pouring down the windows, the paint runs down the canvas and tries to visualise time. The „writing“ provides power and direction, while color embodies the impulses, which are to be reproduced by intuitively created effects. Loops appear and disappear under the channel, they seem omnipresent, but are on the come or go. The gestures disappear from the past to enter the future, while the millisecond of the present ends faster than it ever started. As a result, we are never truly in the present.
Sarah Konjić 