plants (bellies), tin cans, stones, aluminum foil 2013
The Little World Garden relates to Garden as the World relates to Nature.
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- sketch
Little World Garden
D.A.I.S.I.E.S.
7 handpainted empty dogfood cans, daisies, glass board, natural light bulbs
120 X 15 X … cm, 2013
The binary code for daisies is painted on 7 standard industrial tin cans. The generic term is represented as binary code and singular plants (DNA).
By painting the figures of the binary code, each figure is diffrent from each other.
The work looks like a biogenetical experimental set-up. It actually deals with naming and classification in the context of standardization and codification.
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- Jörg Hasheider
Turn/Return
Videoinstallation, Video-Loop, Beamer, double mirror connected with electric motor, DVD-player, stereo, 2012
The installation was realized in the frame of the „Occupy Circle, Part II“ show in my studio – a collaboration with Dominik Eggermann. Common starting point of the works that are united in the installation is movement and so The Time.
Dominik Eggermanns works are based on the programming of Java-Apps. They were presented on 3 screens, the sound on headphones. The visual and acoustic sensation is created by an itterative algorithmical parameter that initiates an aleatoric process.
The videoinstallation „Turn/Return“ shows a person, that is artistically – metaphorically going through various states of being. At the same time the person is caught in a movement that is spinning around itself while spinning around in space, creating a vision of vainness, the turn of the „Big Wheel“ that creates everything and means nothing.
Both works are endless processes: On the one hand side an emanation of form, on the other side an experience of life caught in a loop.
Domink Eggermanns programming (screenshots)
So soft and cosy
Object, birdsnest, acrylic glass box, pedestal, colored pencil
14 X 14 X 6.5 cm, pedestal 130 cm, 2012
Last spring I could watch two blue-tits bringing up their biddies in a birdshome that I fixed close to one of my windows. What an amazing efford! When I later removed the nest, I was surprised, that it was all made of organic material, mainly moss – right in the center of Berlin -. The second sensation was its incredible softness.
Preserving and presenting it in a sealed acrylic glass display, excludes us forever from the tactile sensation, that is now humbly replaced by the description on the pedestal – so soft and cosy -. A work about preservation and representation taking away the main quality of the preserved and presented object and a memorial for the tiny birds and their devotion to life. – I hope they give me the honour again next spring –
Faceless Portraits
wall-installation, glass, orchidblossoms, printed millimeter patterns, foil, cardboard tube,
5 pieces, diameter 15 cm, changing depth, 2012
In migrating, individualized societies we can observe a growing longing for being part of social groups, families, tribes. For „Faceless Portraits“ i made colour-patterns – refering to family or tribal colours – by extracting 4 colours from digital potraits of friends and printed them as millimeter patterns on paper and transparent foil. I chose orchidblossoms representing the singular individual, fixed them between the opaque and the transparent layers and behind a broken glass. My aim was to create an image of the fragility of the individual in individualized societies.
Collages
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- Die Verhältnisse
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- Kalte Welt
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- o.t.
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- o.t.
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- Couple (lost)
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- delirious
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- inverse, reverse, twisted
7 pieces, about 20 X 30 in passepartouts, framed 2012
A series of collages based on the stock: millimeter-paper (basic pattern), circles (symbol, irrational (π)) and orchidblossoms (liveliness, variety). The stock is recombined in changing constellations. The resulting works oscillate between semiotic, formal investigation and poetic findings.
Photographies
prints on brillant supreme lustre 80 X 120 cm, framed 2008
The series of photografies is the last result of a long lasting involvement in conceptual photografy. As I considered the analog and chemical processes, causing a calculable but still evident loss of control, as basical for my photografic work, I was not happy with the nececcity to digitalize and postproduce the slides. The photografies presented here show extremely small settings. I used a pentax 50mm macro with very long exposure. They follow the ideas of Moholy-Nagy in so far, as the light – as an energy you can guide but not control even within a set frame – is creating the image.
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- pentagramm
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- deep blue
Claude-Mirrors I – III
Located at the edge of a forest 2007
The work and it´s title refer to the landscapist Claude Lorrain (1666 – 1682). Lorrain worked with a mirror made from polished black glas to find and define his motifs. So the picture was not taken from nature, but from a shaped representation of nature. During the age of enlightning the now called „Claude-Mirror“ became fashionable among european aristocrats. With pocket-sized mirrors they where searching for „picturesque“ motifs. Not the experience of nature, but its´s selective perception was the focus of interest.
The installation is made of 3 mirrors from polished stainless steel. There formats are 30 X 45 cm, 25 X 50 cm and 20 X 60 cm. They are placed at the verge of a forest, looking at a panoramic view. The recipient moves at the interface of nature and image. He can choose his angle of view – select his motif -, but he will also experience the limitations set by the defind cut-outs.
Zen-Construct
Located at a riverbank, 2006
In many, especially asian cultures the image of „the river“ stands for continuity and change. It symbolizes life and is a favorited object of meditative exercise. Looking at a river you will notice, that your eyes follow objects on the surface for a short time, than hop back, refocus and so on. Your reception is cut into discrete parts. Zen – Construct is a tool to immerse into the „flow“ of the river, into the river „as it“. Looking through the 4 m steel-tube stops the focus – refocus process and makes you aware of the stream velocity. A strange physical experience that sometime causes the impression, that you move and the river stands still.
