Sinta Werner Einfassung des Blicks
TITLE_NAME :
Sinta Werner Einfassung des Blicks
15/09/2023 - 21/10/2023
Alexander Levy
Our spatial perception is based on our visual experience, which is increasingly shaped by the ubiquity of digital media and mediated images. This development significantly impacts our view of the world, our sense of body and space, and our understanding of reality. What effect does this have on our concept of the present, our sense of physical location when more and more images are based on a grid-like, predetermined configuration, a rectangular frame?
According to an influential essay[1] by American art theorist Rosalind Krauss, the grid serves not only as a symbol but also as a myth in modern art. “The Grid’s mythic power,” Krauss contends, “is that it makes us able to think we are dealing with materialism (or sometimes science, or logic) while at the same time it provides us with a release into belief (or illusion, or fiction).”
It is this contradictory quality of the grid described by Krauss that Sinta Werner continues to consider in her work, making it pictorial and sculptural. In the recurrent use of glass as a material, Werner’s recent work takes up the modernist principle of the grid, permeating and illuminating it. Often based on architectural photography, her objects, paintings, and wall pieces offer an unexpected view of urban spaces and the architectural systems of order we associate with them.
The large-format glass installation in the main exhibition space, Einfassung des Blicks (Framing of the View) illustrates the flexible interplay of structure and material. Eight coloured panes of glass set into the wall form the primary elements of a regular but open grid structure, akin to those found in graphic layouts or geometrically planned cities. As in an ambiguous image, perception alternates between the dominance of two patterns: rectangular wall surfaces defined by the glass panes and cross structures formed by the glass panes, like crop marks. Depending on the angle of view – frontal or lateral, close or distant – there is also an alternating mixture of the two complementary colours of the glass panes, blue and orange, cold and warm. The colour accents of the shadows cast on the wall also have a different effect depending on one’s position in the room, adding another immaterial dimension to the work
15/09/2023 - 21/10/2023
Alexander Levy
Our spatial perception is based on our visual experience, which is increasingly shaped by the ubiquity of digital media and mediated images. This development significantly impacts our view of the world, our sense of body and space, and our understanding of reality. What effect does this have on our concept of the present, our sense of physical location when more and more images are based on a grid-like, predetermined configuration, a rectangular frame?
According to an influential essay[1] by American art theorist Rosalind Krauss, the grid serves not only as a symbol but also as a myth in modern art. “The Grid’s mythic power,” Krauss contends, “is that it makes us able to think we are dealing with materialism (or sometimes science, or logic) while at the same time it provides us with a release into belief (or illusion, or fiction).”
It is this contradictory quality of the grid described by Krauss that Sinta Werner continues to consider in her work, making it pictorial and sculptural. In the recurrent use of glass as a material, Werner’s recent work takes up the modernist principle of the grid, permeating and illuminating it. Often based on architectural photography, her objects, paintings, and wall pieces offer an unexpected view of urban spaces and the architectural systems of order we associate with them.
The large-format glass installation in the main exhibition space, Einfassung des Blicks (Framing of the View) illustrates the flexible interplay of structure and material. Eight coloured panes of glass set into the wall form the primary elements of a regular but open grid structure, akin to those found in graphic layouts or geometrically planned cities. As in an ambiguous image, perception alternates between the dominance of two patterns: rectangular wall surfaces defined by the glass panes and cross structures formed by the glass panes, like crop marks. Depending on the angle of view – frontal or lateral, close or distant – there is also an alternating mixture of the two complementary colours of the glass panes, blue and orange, cold and warm. The colour accents of the shadows cast on the wall also have a different effect depending on one’s position in the room, adding another immaterial dimension to the work