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When the artist was tidying up in the house of her deceased mother, she came across two books (1) about the universe. Turning the pages, her eyes got caught by some beautiful images of the Milky Way, the luminous masses of air, the meteorites and the fascinating infinite universe. By looking at the pictures, existential thoughts and questions came up. The artist got in touch with the mortality of the human: we are on the physical earth for quite a short time compared to the time of the universe. Where are we coming from and where do we go? Are we a part of an endless movement?
In the working process, the photographs have undergone a transformation from factual images in a scientific book to sensuous works of art. The images are scanned, enlarged and split into three channels (yellow, red and blue), then transferred onto polymer plates and reassembled again as photo etching prints. In this slow process by hand, the inks are pressed onto the paper and merge with the fibres. The prints contain traces of the artist’s actions and choices – rose from the personal story and now appear as unique artworks.
The French philosopher Merleau Ponty (2) describes that this merging process is also what happens between the prints and the viewer: in a slow movement, through our senses, we perceive the essence of the prints. The prints appear in their ‘allness’, they evoke phenomenological wonder and let us get in touch with the big common questions and what is deeply existential and meaningful.
(1) Man probes universe (1964) by Colin A. Ronan. Our wondrous world (1952) by various scientists and institutes
(2) Ponty 1908-1961
Papers: 45cm (W) x 63 cm (H)
Prints: various dimensions