Rikke Ravn Sørensen

Nye skulpturer






Fernisering fredag d. 10. september 17 – 20
Udstillingen er åben 11. september - 9. oktober
Onsdag - lørdag 12 - 17 (eller efter aftale)

Rikke Ravn Sørensens nye skulpturer befinder sig et sted, hvor geometrisk abstraktion og den materielle skrøbelige verden ikke behøver at være hinandens modsætninger, men hvor de eksisterer på samme præmisser i et fælles, poetisk og lagdelt rum. Skulpturerne er ved første øjekast geometriske abstrakte ting. Nogle af dem fremtræder som lukkede kubiske voluminer, andre som åbne skaller. Grænsen mellem abstrakt og figurativ er gennemgående flydende og åben. Ved siden af den geometriske formverden refererer værkerne videre ud i den konkrete situation til arkitekturmodeller, til rum under opbygning og nedbrydning, til afrikanske masker og skjolde.

Skulpturerne er lavet af hvide pap eller papirark, der er blevet foldet, bukket, sammenføjet og delvist bemalet i kulørte farver. Man kan i hvert enkelt skulptur følge (via foldninger, blyantstreger, penselstrøg osv.) hvordan den er blevet til, og i tankerne oversætte formen tilbage til udgangspunktet i det hvide ark. Den processuelle dimension er en anden overføring af abstraktionen ind i det konkrete rum. Brugen af papir og pap som skulpturmateriale går historisk tilbage til tidlig kubisme, for eksempel til Picassos foldede musikinstrumenter eller til Braques papskulpturer, som siden er gået tabt. Skulpturerne står i oplagt dialog med disse ting, selvom situationen både strukturelt, konceptuelt og perceptorisk selvfølgelig har flyttet sig meget siden dengang.

Skygge-dimensionen spiller fx en markant rolle i betragtningen af værkerne. Skulpturerne eksisterer ikke kun som afgrænsede ting, men dobbelteksisterer som skygger på gulve og vægge. Afsættet i papir og pap gør værkerne lette, skrøbelige og accentuerer deres tilstedeværelse på rummets og tidens betingelser. Massen er radikalt reduceret, tingene er uden kerne og kan ses lige igennem via hullerne i overfladen. I de maskelignende skulpturer antager hullerne karakter af øjne, der bærer et blik og som selv kan fungere som ramme for betragterens blik. I de lukkede voluminer er det derimod selve handlingen at lave huller, der er betonet. Hullerne (lavet med hullemaskine) gnaver sig ind i objekternes folder som en slags virus, der undergraver formens helhed og symmetri. De abstrakte kuber og flader er bragt ind i verden via figuration, proces, farve, huller, skygger og papirets skrøbelighed, og samtidig fastholdt som selvbærende ting. Et bud på en demokratisk abstraktion...

Med venlig hilsen
Skulpturi.dk

For yderligere information: nielsen.tinamaria@gmail.com, +45 26281064


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RIKKE RAVN SØRENSEN

NEW SCULPTURES

Rikke Ravn Sørensen’s new sculptures joints geometric abstraction with the material world in such a way that they are no longer opposites, but part of the same stratified space. At first glance the sculptures are geometric abstractions. Some of them are closed cubical volumes, others are open shells. In all of the works the limits between abstraction and figuration are fluid. Besides their being anchored in geometric idioms they also refer to different specific situations; to architectural models, rooms under construction or deterioration, to African masks and shields.

The sculptures are all made from white sheets of either paper or cardboard which have been creased, folded, fitted together and in some cases partly painted in bright colours. In each sculpture you can trace (through pencil lines, brush strokes etc.) how it has been constructed and in your mind fold the shape back to its point of departure, the white sheet of paper. This accentuation of the making is another way of bringing abstraction into a concrete physical situation. Historically the use of paper and cardboard as sculptural materials dates back to early Cubism, e.g. Picasso’s folded musical instruments or Braque’s cardboard sculptures which have since been lost. Rikke Ravn Sørensen’s sculptures are clearly in dialogue with these earlier works, although the situation has of course changed a great deal, structurally, conceptually, perceptually, since then.

For instance the shadows cast by the sculptures play a significant role in the perception of the works. They do not simply exist as autonomous physical things, but have an ambiguous double-presence as shadows on both the floor and the surrounding walls. The use of paper and cardboard makes the works light and frail and makes it evident that their presence is conditioned by external factors; the premises presented by a given space at a given time. Their mass has been radically reduced. They have no core. You can look straight through them due to the holes in the surfaces. In the sculptures that resemble masks the holes take on the character of eyes, making them carriers of their own gaze and a framework for ours. In the closed volumes it is rather the act of making the holes that is accentuated. The holes (made with a hole puncher) eat away at the objects as a kind of virus, undermining the unity and symmetry of the shape. The abstract cubes and surfaces are made into tangible, de-idealized things through figuration, process, colour, holes, shadows and the frailty of the materials - at the same time as they are still autonomous things. A proposal for a democratic abstraction…

Sincerely
Skulpturi.dk.

For further information: nielsen.tinamaria@gmail.com, +45 26281064