Natalia Stachon -The Problem of the Calm
01 Nov 2013 - 11 Jan 2014
Natalia Stachon, The Problem of the Calm, 2013, Installation, Courtesy: ŻAK I BRANICKA Gallery,
Berlin © the artist
Berlin © the artist
November 2, 2013 to January 11, 2014
Opening on November 1, 2013, 6 to 9 PM
ŻAK | BRANICKA is delighted to present the first solo exhibition of the artist Natalia Stachon entitled The Problem of the Calm. The young artist investigates the relationships of space and matter, sensory impressions and experience, form and surface in her works. In the process, the site of art morphs into a stage, habitual conceptions of image are overruled or reinterpreted.
“Places find me. And they change me. It is always a journey with an unknown outcome.”
The eponymous work is an installation conceived especially for ŻAK | BRANICKA that completely fills the gallery space. Lines of stainless steel cables stretch from one wall to another, with different formations of glass and stainless steel elements hanging from their ends, as if to be strung on a pearl necklace. The shape and material are reminiscent of high-voltage power lines; defunctionalized as weights they generate a new sort of tension. Correspondingly, sculptures distributed on the floor enter. They are also clear structures, ordered, yet at the same time they are in contradiction with the previous ones. Stachon’s work depends on these kinds of contradictions, from a critical view of inherent meanings that change with the slightest shift and can create new ones. In the process the individual works engage with one another, thereby never appearing autarchic and closed, but rather becoming part of an open and alterable spatial scene.
Large format pencil drawings form the second part of the exhibition. Stachon succeeds also here in reducing things to the essential. A maximum of dynamics prevails in these precisely executed drawings, which evolves through the contrasts between light and dark, compaction and emptiness, sharp and soft lines. The line of the pencil comes together in dialogue with the plastic structure in the space and pursues this on a two-dimensional plane. This connection shows the constant correspondence between Stachon’s works, which take place on different layers and therefore immediately incorporate the viewer.
Opening on November 1, 2013, 6 to 9 PM
ŻAK | BRANICKA is delighted to present the first solo exhibition of the artist Natalia Stachon entitled The Problem of the Calm. The young artist investigates the relationships of space and matter, sensory impressions and experience, form and surface in her works. In the process, the site of art morphs into a stage, habitual conceptions of image are overruled or reinterpreted.
“Places find me. And they change me. It is always a journey with an unknown outcome.”
The eponymous work is an installation conceived especially for ŻAK | BRANICKA that completely fills the gallery space. Lines of stainless steel cables stretch from one wall to another, with different formations of glass and stainless steel elements hanging from their ends, as if to be strung on a pearl necklace. The shape and material are reminiscent of high-voltage power lines; defunctionalized as weights they generate a new sort of tension. Correspondingly, sculptures distributed on the floor enter. They are also clear structures, ordered, yet at the same time they are in contradiction with the previous ones. Stachon’s work depends on these kinds of contradictions, from a critical view of inherent meanings that change with the slightest shift and can create new ones. In the process the individual works engage with one another, thereby never appearing autarchic and closed, but rather becoming part of an open and alterable spatial scene.
Large format pencil drawings form the second part of the exhibition. Stachon succeeds also here in reducing things to the essential. A maximum of dynamics prevails in these precisely executed drawings, which evolves through the contrasts between light and dark, compaction and emptiness, sharp and soft lines. The line of the pencil comes together in dialogue with the plastic structure in the space and pursues this on a two-dimensional plane. This connection shows the constant correspondence between Stachon’s works, which take place on different layers and therefore immediately incorporate the viewer.