A work by Katrin Fridriks-2

Within human experience, time and space are inextricably entangled.

Together they form the basis of our everyday life, and moreover, link

it to the very beginning of life and thus existence itself, that is to the

origin of the evolution of the universe from a singularity, the big

bang. It is this interdependence of the two concepts and their initial

genesis that I focus on in my artistic practice.

 

The expansive installation Perception of the Stendhal Syndrome rep-

resents my conception to approach existential questions through the

means of aesthetic experience. By means of developing a specific set

of techniques, I aim to overcome the limits of the medium of painting

and to expand it by the category of time.

 

With this work, I hope to engage the visitor on all levels,

instantaneously: Perception of the Stendhal Syndrome comprises one

of my large-scale white-on-black paintings from the series

Gene&Ethics – Master Prism (1,80 x 2,80 m) and a custom-made,

sculptural magnifying glass, measuring 1,58 m in height, which is

hung from the ceiling at distance to the canvas. Each visitor will

perceive a completely unique series of images when approaching the

work, as every slightest move generates an entirely new impression.

The installation thus aims to provide an experience of my work that

simultaneously allows for a macro perspective and micro perspective

of the painting, thereby revealing my different painting techniques,

which are the result of a long-term synthesizing process of

conceptual practices and technical-chemical explorations.

 

I have been experimenting with the constitutive elements of painting,

that is the quality of the paint, its support, as well as a range of

unconventional painting techniques, to attain this effect. Through the

interplay between the medium, the timing and my body, physically

moving around a canvas on the floor, I seek to derive a specific fluid

and organic quality in my paintings.

 

The literally puzzling and elusive nature of the experience of

approaching Gene&Ethics – Master Prism while looking through a

magnifying glass, lies at the center of my interest: each beholder is

forced to reverberate his/her own position in regard to the work and

within the actual space, instinctively. At the beginning of every

philosophical reflection stands the question of the point of view. With

this installation, I would like to take an explicit stance towards this

issue, as it is each individual human being that stands at the center

of the art: My work only exists when being experienced!

 

However, it not only deals with perception, on the contrary, with the

strategy of providing sensual experiences, I seek to sharpen the

senses for societal and environmental issues. I have drawn inspiration

from sculptors, such as Anish Kapoor and Tony Cragg, but also the

architect Frank Gehry, who are all known for providing unique spatial

experiences that trigger reflections about one’s existence.

 

The installation thus literally reaches out, in order to encompass the

viewer on a bodily, psychological and self-reflexive level. By way of

providing this engaging experience, I try to raise the viewers’

awareness of space-time, opening up the possibility to relate this

perception to the ‘bigger picture’ of our existence.

Done