Raphael Danke
06 Oct - 10 Nov 2007
RAPHAEL DANKE
"Seventh Heaven"
Dates: 6th October–10th November 2007
Notes: courtesy of Sandra Burgel Gallery, Berlin, supported by the Goethe Institute, Glasgow
The legacy of Surrealism is evident in the collages, photography and sculptures of Raphael Danke. Previous works have made reference to, amongst others, Hans Bellmer and Man Ray. ‘Seventh Heaven’ is the first UK solo show by the Berlin based artist and the title references the 1972 poem of the same name by Patti Smith.
In the first gallery Danke displays a series of framed collages entitled ‘Fallen Angels’. These exquisite works are cut and spliced from images of the ballet legend Margot Fonteyn and are named after the fallen thrones. Distorted fabric, netting and assorted body parts cascade forth: creating a sculptural form from a fluid and intangible moment.
In the second space Danke exhibits two sculptural works derived from the idea of the matrioschka. The large cabinets at first appear theatrical, with Danke revealing their supporting struts, once more recasting a Surrealist motif. However these cabinets are not only objects of display but gateways to the subconscious, with their delicately exposed doors operating as wings propelling them to another, more poetic dimension.
Supported by the Goethe Institut, Glasgow
"Seventh Heaven"
Dates: 6th October–10th November 2007
Notes: courtesy of Sandra Burgel Gallery, Berlin, supported by the Goethe Institute, Glasgow
The legacy of Surrealism is evident in the collages, photography and sculptures of Raphael Danke. Previous works have made reference to, amongst others, Hans Bellmer and Man Ray. ‘Seventh Heaven’ is the first UK solo show by the Berlin based artist and the title references the 1972 poem of the same name by Patti Smith.
In the first gallery Danke displays a series of framed collages entitled ‘Fallen Angels’. These exquisite works are cut and spliced from images of the ballet legend Margot Fonteyn and are named after the fallen thrones. Distorted fabric, netting and assorted body parts cascade forth: creating a sculptural form from a fluid and intangible moment.
In the second space Danke exhibits two sculptural works derived from the idea of the matrioschka. The large cabinets at first appear theatrical, with Danke revealing their supporting struts, once more recasting a Surrealist motif. However these cabinets are not only objects of display but gateways to the subconscious, with their delicately exposed doors operating as wings propelling them to another, more poetic dimension.
Supported by the Goethe Institut, Glasgow