Karin Suter
29 Feb - 22 Mar 2008
KARIN SUTER
"Myriade"
Karin Suter’s wilful works always investigate the relations between cognitive knowledge and subjective intuition. Her paintings, sculptures, installations and drawings on one hand are to be understood as conceptual, process- oriented test arrangements on formal basic conditions of a medium and representation as such. They deal with issues of abstraction and suggestion, alienation and symbols, sometimes also ornament and texture. On the other hand, the presence of time in her works focuses on intuitively defined moments of caducity, translucence and movement.
Observations of nature, it’s materials and process- cycles hereby serve as formally and contextually joining elements of the two work processes: investigating their reciprocity and interdependency.
In her paintings on canvas, found wood or directly onto walls, nature, space and scene are adumbrated only as abstract expanses or blurry contour, or find themselves as reductions of almost ornamental forms. The fugacity that is found in them is created through the tension arisen explicitly through the movement of painting and at the same time expresses the attempt to represent intuitively remembered contents as metaphoric moments of transience and time.
Karin Suter’s sculptures and installations, strongly investigate their material characteristics and, adapted to the referring exhibition space, continue where painting encounters spacial and material limitations. In the tradition of artists like Eva Hesse or Heidi Bucher, Suter’s works in space explore the impact of material, space and time in the tension of subjective perception, suggestion and the border of abstraction and absurdity. Within her oeuvre these works interestingly can also be interpreted to be happening on a subjective, historically shifted “collapse in painting” (as in reference to the above mentioned artists), or it’s traditional distinction of painting and sculpture. Most of them have been created since Suter’s studio residency in Beijing China, and the local obstructions in production conditions.
In many ways they suggest absurd- poetic still- lives, with materials such as wood, soil, paint and neon co-operating and fighting each other simultaneously. These works comprise a peculiar rawness, witness decay and through that once more the issue of movement. In Karin Suter’s oeuvre the audience faces a world of strange, fairytale- like encounter of diffuse, sensual impressions and interpretations of forms and signs built on individual experience. A world of astonishment and rapture, coincidence perhaps, surely a world of constant movement and caducity that lives in all of these conditions.
"Myriade"
Karin Suter’s wilful works always investigate the relations between cognitive knowledge and subjective intuition. Her paintings, sculptures, installations and drawings on one hand are to be understood as conceptual, process- oriented test arrangements on formal basic conditions of a medium and representation as such. They deal with issues of abstraction and suggestion, alienation and symbols, sometimes also ornament and texture. On the other hand, the presence of time in her works focuses on intuitively defined moments of caducity, translucence and movement.
Observations of nature, it’s materials and process- cycles hereby serve as formally and contextually joining elements of the two work processes: investigating their reciprocity and interdependency.
In her paintings on canvas, found wood or directly onto walls, nature, space and scene are adumbrated only as abstract expanses or blurry contour, or find themselves as reductions of almost ornamental forms. The fugacity that is found in them is created through the tension arisen explicitly through the movement of painting and at the same time expresses the attempt to represent intuitively remembered contents as metaphoric moments of transience and time.
Karin Suter’s sculptures and installations, strongly investigate their material characteristics and, adapted to the referring exhibition space, continue where painting encounters spacial and material limitations. In the tradition of artists like Eva Hesse or Heidi Bucher, Suter’s works in space explore the impact of material, space and time in the tension of subjective perception, suggestion and the border of abstraction and absurdity. Within her oeuvre these works interestingly can also be interpreted to be happening on a subjective, historically shifted “collapse in painting” (as in reference to the above mentioned artists), or it’s traditional distinction of painting and sculpture. Most of them have been created since Suter’s studio residency in Beijing China, and the local obstructions in production conditions.
In many ways they suggest absurd- poetic still- lives, with materials such as wood, soil, paint and neon co-operating and fighting each other simultaneously. These works comprise a peculiar rawness, witness decay and through that once more the issue of movement. In Karin Suter’s oeuvre the audience faces a world of strange, fairytale- like encounter of diffuse, sensual impressions and interpretations of forms and signs built on individual experience. A world of astonishment and rapture, coincidence perhaps, surely a world of constant movement and caducity that lives in all of these conditions.