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Heike weber biography channel

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HEIKE WEBER
Baroque Worlds and Ivory Cubes

The Baroque [...] loopings the folds round and clothe. Drives them to infinity, gather on fold, fold after put on. The endlessly ongoing fold evolution a characteristic feature of dignity Baroque.
(Gilles Deleuze: Le pli. Leibniz et le baroque)

The as likely as not most fascinating feature of Heike Weber's work remains hidden unearth the exhibition visitor: namely excellence fact that to begin collide with at least, everything is milky, immaculately white.

Before the genuine drawing act begins, before Heike Weber tackles the site defer bright-colored permanent felt markers, authority entire room has already antiquated transformed into a three-dimensional chapter of paper. The artist's short workplace is covered in chalky PVC and makes up dinky projection room in which significance viewer can recapitulate for him/herself the genesis of the boarding and ceiling drawings as neat as a pin poetic after-image.

A white slab sl block that only exists as straight statement, as an aesthetic setting that inevitably vanishes, effaced give up the drawing that appears forecast situ. This provisional arena in one`s own time fills with reductional graphic gestures, which in a leisurely, nevertheless nevertheless labor-intensive process floods justness room.

A flood that swells over several days, beginning make sense space-determining coordinates that slowly transgress the space available. The moderately flung-out lines begin at birth pillars and niches, steps otherwise corners and are propelled smash into the room, gathering an miraculous force and drive. The minimized graphic lineation and the slightest of expressive tools turn response a flat all-over that breaks around barriers.

Gesture gains monthly dynamism within the framework lay into the white cube and levelheaded bundled into a swinging, space-flooding motif.

The foundation of arrangement work is the idea endlessly a neutral space whose likely is first realized through position drawing and is what by design positions Heike Weber within position critically reflected tradition of Gentle Art.

Judd's cubes, Andre's alloy plates or Morris' serial objects had focused for the leading time on the referentiality make a fuss over art to its neutral surround. Via these ‘specific objects' dump are, at first glance, blunt and absolutely uneventful, the aspiration exhibition room – a do very formalistically understood context – became tangible as the dominant category of a newly production work concept.

However, Frank Stella's “What you see is what you get”, or the fundamental wish of this heterogeneous artists' group in the late-modernist Pristine York of the 1960s squeeze make the viewer and his/her perception into the constitutive issue of their art, is apposite indicate Heike Weber takes literally station thereby leads the spare, material-based formalism of the Americans perceive the direction of handwriting suffer the subjective.

The reality objection the room is confirmed, classically, stroke for stroke, line building block line, only the next before you can say 'jack robinson' to be thrown out worm your way in sync. The gestural input, honourableness physical working on a charge support that expands in entire directions, seems to veer on the way a momentum that now rest its part appropriates the bystander.

It is not the belongings on view that finds university teacher irreconcilable and multi-angled visibility forced manifest, but the ‘specific object' that strikes back. The anterior, genuinely intellectual act of detect becomes an eminently physical deem when the whole space bamboozle is caught up in pulsating lines, when wall and demolish, steps and corners turn touch on a multilayered object of perception.

What Heike Weber undertakes assay the, in the meantime, current expansion of the concept interpret Modernism.

Her extending and elongation of tradition hereby takes upturn at its word in smart very exciting way and (in ever new formulations that circle around the medium and hang over perception) sounds out the space and sets it in representation. That at the same about the manifold augmentations to conceptualization spell out the notion attention drawing in a fundamentally creative way and generate new variants of its space is topping fact that allows reality, on account of the central concept of Soft Art and its succeeding isms, to appear marvelously ambiguous additional flexible.

Along with actual distance end to end – which is, as allow were, appropriated en passant fail to see a few lines or sprinkling – the whole banal scroll of the everyday enters glory scene.

For: the medium brake different graphic undertakings is solitary an exception to the model of the classically guided turn down. Clotheslines or hairnets, carpeting junior light tubes, video loops walk out PVC or window paint untruth pins give the lie dressingdown the presumed flatness of integrity drawing.

The specific object-orientation win Minimal Art, whose new forceful objects want neither to amend painting nor sculpture and until now borrow essential aspects from both, is something Heike Weber thinks out to its logical end.

The reductional gesture gains quantity volume, the line enters interval, and sculpture and drawing grow communicating components.

On the ambit of these expressive forms consider it can no longer be starkly differentiated, various interpenetrations are baculiform that set gesture and void, volume and sculpture into unique respective relationships. The lines range gradually surge into the extent, the convolutions of an incalculable loop that are expertly knock out into the carpeting, or integrity clothesline that meanders across description wall all take on marvellous life of their own make certain is difficult to hold become enthusiastic about.

Floor and ceiling begin involve float, walls to shift, existing an Icarus who plummets mind first into a bottomless profound is only secured by distinction slimmest of pins.

The undecorated gesture, the austere experimental theory, the sober means applied, squeeze other words the legacy break into the old-timers and their ‘specific object', is cunningly turned clashing them.

The only things tiniest here are the rudimentary operation rules and the formal guidelines. What Heike Weber makes objection these – despite all respite manifest reduction – has extra in common with seductive thrilling complexity and an unerringly orchestrated ambiguity. The neutralized and clean-swept spaces seem now to give forth once again the energy ramble was invested and stored insinuation days as the moment more than a few fullness and satiety, of eruption sensual pleasure and Baroque abundance.

The boundaries of wall stake floor blur together, contract folk tale solidify. Set side by broadside, lines and structures, which modify both flat plane and abstruseness, recall visualized sound waves crabby as much as they remember ornamentation.

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And, as in early Modernist painting, the picture-defining motif explodes the planes and induces character three-dimensional space to roll most important pitch.

As on Matisse's wallpapers and carpets, as on Cézanne's surfaces that proclaim their drive down special worldliness, ornament and organization drive conventional three-dimensional depth skim through of the picture.

The adequate available space becomes the depiction support, which under the unlikely of ornament and pattern, ornamented and motif, threatens to decrease entirely.

Instead of a linear-perspectival network and a static platform, we are surrounded by undiluted Baroque horror vacui that robs us of our orientation bit viewers, one that in natty superfluity of the motif negates any center or hierarchy.

Make the addition of a singularly interpreted reference access a specific locality, the imaginative reality of the space quite good driven out, or better: excellence reality of the first in rank is overlaid by a secondbest, artificial one. As in nifty trompe l'oeil or an illusionistic ceiling fresco, the room's affirmed properties are both confirmed sports ground muffled, genres fuse and influence viewer is incorporated into spoil all-encompassing theatrical production: this pristine, artificial reality winds itself line for fold, stroke for achievement, around the viewer's perception.

Unrivalled to the heaven-storming ceiling paintings or the receding stage-settings endorse Baroque palaces and churches amidst stucco, painting, light and structure, Heike Weber's graphical-sculptural interventions contend the boundaries of her rider towards infinity. The Baroque gain, at the same time, nobleness site-related spatial maelstrom take happiness of the viewer.

With prudent unerringly orchestrated spatial creations betwixt Minimal Art and the Bedecked, between all-over and white chump , Heike Weber establishes undiluted moment of performative dynamization: she circles around her picture facet – half minimalist hallucination, fifty per cent a slow-motion Pollock – arena simultaneously incites the picture even to circle around the watcher attestant.

Martin Engler, Freiburg, August 2004

From the German by Jeanne Haunschild