60 % wool / 40 % viscose textile, wooden frame construction, 200 x 100 x 4 cm each, installed with 0,5 cm intervals
Styrofoam cushioning, concrete, pigment, 134 x 26 x 21 cm - Two units 140 x 42 x 22 cm each, installed with 2 cm intervals
The American artist most prominently associated with Minimalism is Donald Judd. His work and writings have sparked immense interest and inspiration for my project There may be oil. In his seminal text on “specific objects” Judd contends:
“Three dimensions are real space. That gets rid of the problem of illusionism and of literal space, space in and around marks and colors – which is riddance of one of the salient and most objectionable relics of European art. The several limits of painting are no longer present. A work can be as powerful as it can be thought to be. Actual space is intrinsically more powerful and specific than paint on a flat surface. Obviously, anything in three dimensions can be any shape, regular or irregular, and can have any relation to the wall, floor, ceiling, room, rooms or exterior or none at all. Any material can be used, as is or painted.”1
A central point of investigation of There may be oil is a fascination with Minimalism – simplicity in its purest way and reduction to the fullest. It is the use of raw, unadorned material that exposes the viewer to plain reduction. This triggers numerous associations, focusing on their internal self, emotional life, and mind, thus resulting in the work of art functioning as a surface of projection.
However, after working on a number of projects I have frequently returned to the topic of Minimalism and its legacies, intrigued by the question of how its perception can be expanded and re-evaluated in the present. Working on this project meant refinement in process and experimentation with a wide variety of materials. I sought to complement the components of simplicity that can be expanded. For this, I implemented color and texture into my process and introduced the idea of functionality by alluding to interior design. This grew out of dealing with found materials and refining manual techniques. It resulted in associations to functional design and lead even further to the environment and placing of objects.
There may be oil2
1 Donald Judd, “Specific Objects” (1965), reprinted in: Donald Judd: Complete Writings 1959-1975. Nova Scotia/New York, p. 181-189
2 Gang of Four, “Ether”, Entertainment, 1979