Biomechanik
My master class work is made up of two parts: a research project based on photographs researched from documentation and archives, and another practical part, which I describe more fully below. In the theoretical part, in which use has been made of selected motifs from libraries and archives, I have ripped these from their historical context and newly interpreted them.
I have reduced the reconstruction of the monuments over the course of this work process to basic forms. The seemingly dissolving outer walls are formed by the applied sequence of individual parts and voids. By means of this dissolving of the walls, the hollow body becomes a translucent scaffolding in which the two sides, namely the interior and the exterior can be made visible. With the chosen construction, the inner emptiness of the monuments and the newly created space become the central themes.
In my installation, a free-standing construction of individual posts and panels, a passage way opens up through omission which divides the aluminium walls, whereupon the connection of the cohesive outer skeleton is not lost. The newly created installation is an open construction in which the images define the outer form. The images painted on the aluminium panels of the installation were inspired by, among other sources, Rudolf Laban’s controversial character dance from the years 1923/1925. The content of the work draws on literature, documents, sketches, photographs and film footage about the politically oriented body movement from the period of 1920 to 1933, which I found in libraries and private and public archives.
Throughout the execution period of my master’s work the relationship between architectural and physical forms occupied particular importance. In the final exhibition I presented my painting within the above described architectural-spatial scaffolding as a room installation.
Translation Christian de Lutz
opening of the exhibition 2010, Uferhallen - Wedding, Berlin
opening of the 2010, Uferhallen - Wedding, Berlin