Erika Hock, Sarah-Jane Hoffmann
05 Sep - 03 Oct 2009
ERIKA HOCK, SARAH-JANE HOFFMANN
05 Sep 2009 - 03 Oct 2009
It is the use of light that links the work of Erika Hock (Dschangi - Dscher, Kyrgyzstan, 1981) to that of Sarah-Jane Hoffmann (Siegburg, Germany, 1984). Both use light indirectly as a sculptural medium: it serves to demarcate physical space through the play of shadows, or to evoke certain associations and feelings through projected colours.
A white silk curtain is draped around a white column. Partly over the curtain and partly over the wall are projected not images but colours. In a languid tempo, a wide spectrum of colours passes by. Together with the little movements of the curtain, which responds to every whisper of wind, the colours create a suggestion of a space that is accessible only in the mind. With her ‘Ibiza Dreams’, Sarah-Jane Hoffmann takes us to other regions, warm and sunny.
‘Synchromy (In Space)’ by Erika Hock seems in its imagery to be quite the opposite of Hoffmann’s ‘Ibiza Dreams’. Five aluminium structures in the shape of a hexagon are held together by neon lights. They demarcate the space, while at the same time forming a tunnel, creating a new space. The gleaming aluminium confers an industrial, yet minimalist, air to the work. While the strong physical presence of ‘Synchromy’ contrasts with the ephemeral qualities of ‘Ibiza Dreams’, the neon light, reflected in the aluminium, projects a series of shadows on the walls and floors that brings them together, generating a subtle play of visual impressions. The elongated shadows seem to prolong the rhythm of the hexagons endlessly.
Erika Hock graduated from the Düsseldorf Art Academy in 2009 under supervision of professor Irmin Kamp and Rita McBride. Sarah Jane Hoffmann studies at the Düsseldorf Art Academy under supervision of professor Rita McBride.
[Laurie Cluitmans]
05 Sep 2009 - 03 Oct 2009
It is the use of light that links the work of Erika Hock (Dschangi - Dscher, Kyrgyzstan, 1981) to that of Sarah-Jane Hoffmann (Siegburg, Germany, 1984). Both use light indirectly as a sculptural medium: it serves to demarcate physical space through the play of shadows, or to evoke certain associations and feelings through projected colours.
A white silk curtain is draped around a white column. Partly over the curtain and partly over the wall are projected not images but colours. In a languid tempo, a wide spectrum of colours passes by. Together with the little movements of the curtain, which responds to every whisper of wind, the colours create a suggestion of a space that is accessible only in the mind. With her ‘Ibiza Dreams’, Sarah-Jane Hoffmann takes us to other regions, warm and sunny.
‘Synchromy (In Space)’ by Erika Hock seems in its imagery to be quite the opposite of Hoffmann’s ‘Ibiza Dreams’. Five aluminium structures in the shape of a hexagon are held together by neon lights. They demarcate the space, while at the same time forming a tunnel, creating a new space. The gleaming aluminium confers an industrial, yet minimalist, air to the work. While the strong physical presence of ‘Synchromy’ contrasts with the ephemeral qualities of ‘Ibiza Dreams’, the neon light, reflected in the aluminium, projects a series of shadows on the walls and floors that brings them together, generating a subtle play of visual impressions. The elongated shadows seem to prolong the rhythm of the hexagons endlessly.
Erika Hock graduated from the Düsseldorf Art Academy in 2009 under supervision of professor Irmin Kamp and Rita McBride. Sarah Jane Hoffmann studies at the Düsseldorf Art Academy under supervision of professor Rita McBride.
[Laurie Cluitmans]