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  1. (eng)

    djkdk

    sky blue - cream - apricot

    Simone Holliger’s drawings are both the vestiges and the future of new instruments. They act as measuring tools and weights, bringing into balance the space over which they preside. These devices offer multi-time navigation and always seem to run aground in an interpretation of the material, that is, pigments deposited on the different supports. We go back and forth, therefore, through her studio space and her collections of mystical or naturalistic images or of geometrical maps. But soon the subject dissolves into the material of the pencil and the graphite becomes a micro-sculpture. At some points it is dragged along or crushed at others to become mineral once again. Gradually, the different levels of hardness change, the paper contracts, moves.

    Support = ground, ground = colour, colour = dust, dust = colour, colour = ground, ground = support.

    These fragile connections extend by capillarity both on the paper and in space, bringing into tension the traditional and profane in her drawings. We then start to feel like we’re look ing at the stars, seeing in playback that light emitted light years ago.

    Shqipe Gashi

    ddlddk

    (fr)

    djkdk

    bleu azur – crème – abricot 

    Les dessins de Simone Holliger sont à la fois vestige et devenir de nouveaux instruments. Ils agissent tels des éléments de mesure et de poids qui mettent en équilibre l’espace dans lequel ils sont régis. Ces dispositifs proposent une navigation à temps multiples et semblent toujours s’échouer dans une lecture de la matière, à savoir des pigments déposés sur les différents supports. Nous faisons alors des allers et retours dans son espace d’atelier, dans ses collections d’images mystiques, naturalistes ou encore de cartes géométriques. Mais très vite, le sujet se dilue dans la matière du crayon et la mine devient une micro-sculpture. Tantôt trainée par ici, tantôt écrasée par là pour redevenir minéral. Au fur et à mesure, les duretés changent, le papier se contracte, s’agite. 

    Support = fond, fond = couleur, couleur = poussière, poussière = couleur, couleur = fond, fond = support. 

    Ces correspondances fragiles s’étendent par capillarité à la fois sur le papier et dans l’espace et mettent en tension le caractère traditionnel et profané présent dans ses dessins. Nous vient alors cette impressi- on de regarder les étoiles, de recevoir cette lumière en différé, émise il y a des années-lumière. 

    Shqipe Gashi 

  2. Artist‘s statement

    My artistic research is based on drawing. I’m perpetually fascinated by the possibilities to create the illusion of space and deepness by applying a drawing tool on a flat surface. The transition from the second to the third dimension is already announced in my work in the form of drawings of some sort of strange minerals realized with colour pencil and formally situated between the organic and the geometric, as well as the way to construct my images with different eclipsing layers. The drawn, figurative motifs gradually dissolve in the material. The shapes - inspired by architectonic models, geometric maps and material-and form connections observed in the studio - get reduced more and more. I apply and remove pigments and graphite, transfer them from pencil to paper and their powder from a sheet to another before creating a sort of negative drawing with an eraser. During these processes, the paper changes his appearance fundamentally. Some sheets - intensively treated with colour pencil - become similar to cloth while others become massive like metal. I’m observing the paper’s different reactions provoked by the disparate handlings; gradually, the different levels of rigidity change, the paper contracts, moves. Strength is feigned but on the other hand aquarelle makes the paper wavy and gives it a fragile appearance. The paper becomes a manifold construction material, simultaneously offering volume and creating space. The drawings are becoming plans for three-dimensional realizations in which I try to keep present the gesture of the drawn line and the making of the work. The original, drawn form interacts with the special qualities of the paper as unusual construction material. Flexible, but also resistant because of his fiber structure the paper forces me to find a consensus between the idea and the material.

    I transform ideas and shapes to different states and dimensions. As the main element of the drawing, the line can be subjected to many transformations; expanded to a three-dimensional state, compressed to a plane surface, blown up to a voluminous object, or splitted up in smallest single points before disappearing completely.

    The individual drawings and paper shapes become equal elements, which I arrange in regard to the property of the space. They act as measuring tools and weights, bringing into balance the space over which they preside. The whole floats precariously between foundation and destruction. The installations are like drawings in the space, the wall becomes the supporting background against which the sometimes fragile paper shapes lean; other self-supporting forms are spreading out into the space and compose all together a multi-layered vision. I’m searching to create a landscape situation, a sort of panorama reminding a deserted scenery, confronting the spectator with a situation between micro and macro without clear boundaries.