June 5, 2012

ane graff: name, no, nothing is namable...


a plain rotunda 2011
veneer covered wooden panel, painted/ printed/ dyed fabric
75 x 50 x 7 cm
photo:repos-professionell







molten red 2011
veneer covered wooden panel, painted/ printed/ dyed fabric
65 x 45 x 5 cm
photo:repos-professionell







go back in/ the fifth plague 2012
veneer covered wooden panel, painted/ printed/ dyed fabric, nails
80 x 45 x 5 cm
photo:repos-professionell







sapphire hands 2012
veneer covered wooden panel, painted/ printed/ dyed fabric, rusty nails
90 x 50 x 5cm
photo:repos-professionell







it rests by changing2010
wooden branches / steel wire / acrylic paint / painted silk
140 x 160 x 90 cm
platform china contemporary art
institute, beijing, ch
photo: roderick hietbrink








installation view: sliding 2009
”skins” / ”linear i & ii” / ”overthrown ortorhombic crystal structure”
photo: david brandt








installation view: sliding 2009
”skins” / ”linear i & ii” / ”overthrown ortorhombic crystal structure” / ”the slide” / ”overthrown tetragonal crystal structure”
photo: david brandt








inter-related components (black piece) 2010
crushed coal and sand
160 x 100 cm
photo: leo kaufmann








knowledge / chaotic 2010
wooden branches / steel wire / acrylic paint / silk fabric
140 x 160 x 90 cm
platform china contemporary art
institute, beijing, ch
photo: roderick hietbrink

‘name, no, nothing is namable, tell, no, nothing can be told, what then, i don’t know, i shouldn’t have begun.’

at the core of my work is the poetics of scientific research. my drawings show an investigation into the nature of matter. working in a highly detailed manner, i examine and render the surface and structure of rocks and minerals. extending the scope of this work, i have widened my range of medias, adding both sculptures and installations to an extended practice.

as the title of this text indicates (samuel beckett’s texts for nothing, 11, 1950-52), my project also reveals an interest in a form of standstill in the process of coming into knowing. i have a recurring interest in how meaning is understood and transmitted through an individual and translated through the help of fragile and frequently failing systems of signs and symbols. in this case the symbols are the self made points and lines of drawing or sculpture.

when closely examined, a material presents numerous possibilities: of adding or subtracting meaning into the work, of information excessively unfolding or folding in. studying a material, i find myself immersed in its surface. i am lost in a surface that is never a complete and even crust, but instead holds several irreconcilable, contradictory narratives.

the documentation of 1:1 reality comes to a halt in a blend of elements. the drawings then fluctuate somewhere in between details and empty space, sealing an uncertain status somewhere in between representation and abstraction. the drawings offer a fractured and restructured reality – a subjective synthesis of information.

the process continues with the sculptural works. the sculptures stem from an investigation of matter done by hand, by constructing and building in the form of perceived structure systems. the branch sculptures are specifically constructed in the form of different crystal systems, and then left to collapse under the effect of gravity. the result is configurations that clearly resemble natural forms, while still eluding a fixed interpretation.
ane graff


website: anegraff.com
found at a butterfly's dream







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