Mini Exhibition by Karin Herwegh
Exhibition
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07 Jan 2020
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28 Feb 2020
Published: 07.01.2020
attagallery.com
Being fascinated by (simple) objects and their potential to tell stories, not necessarily their own, Karin is always on the look-out to find them.
Artist list
Karin Herwegh
Apart from everyday life and nature, I use the books in my library, the vast number of sketches and notes I've made in the last 20 years, and the internal (information and images from all kinds of cultures, times and places) as a source of inspiration.
From these thoughts, images and texts I select the ones that are suitable to be translated' into objects.
After a process of abstraction, all different elements are transformed and updated; they lose their initial meaning, context and status. This process allows to connect item from opposite worlds to come together in a new setting. For instance, a long narrow shape next to a bird may represent a hunter's tool, a beak, a bar, a mere graphic element...
To me, it is important that each gets its shape during the carving of the wood; each stroke of the knife leading t the next, leaving room for alternations at a time until the object is finished. This approach means that the moment in which the piece is made partly dictates the outcome. All separate components are then linked together, and following a certain theme, narrative or memory, a composition is formed. There is no fixed design mand beforehand; every necklace is made within its own whimsical logic.
Other than focusing on development in technology, purposeful thinking and functionality, in my work, I try to concentrate on the various ways in which an object can be interpreted, and as in the work of a craftsman, factors like time, slowness, imperfections, and decisions made, remain visible.
This way, the experience of the making remains apparent. In addition to that notwithstanding being part of work makes me feel independent from technology.
For me as an artist, I think it is more interesting to place question marks than provide answers. The works are thus open to being appropriated by the viewer, following his or her own imagination.
/ Karin Herwegh
From these thoughts, images and texts I select the ones that are suitable to be translated' into objects.
After a process of abstraction, all different elements are transformed and updated; they lose their initial meaning, context and status. This process allows to connect item from opposite worlds to come together in a new setting. For instance, a long narrow shape next to a bird may represent a hunter's tool, a beak, a bar, a mere graphic element...
To me, it is important that each gets its shape during the carving of the wood; each stroke of the knife leading t the next, leaving room for alternations at a time until the object is finished. This approach means that the moment in which the piece is made partly dictates the outcome. All separate components are then linked together, and following a certain theme, narrative or memory, a composition is formed. There is no fixed design mand beforehand; every necklace is made within its own whimsical logic.
Other than focusing on development in technology, purposeful thinking and functionality, in my work, I try to concentrate on the various ways in which an object can be interpreted, and as in the work of a craftsman, factors like time, slowness, imperfections, and decisions made, remain visible.
This way, the experience of the making remains apparent. In addition to that notwithstanding being part of work makes me feel independent from technology.
For me as an artist, I think it is more interesting to place question marks than provide answers. The works are thus open to being appropriated by the viewer, following his or her own imagination.
/ Karin Herwegh
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