Gabriele Basch ‘Dämon’
Du 07 Juin au 26 Juillet 2014 exposition personnelle de Gabriele Basch à la Galerie M & R Fricke, Berlin.
The demon (Greek: Daimon) was seen in ancient Greece as a “spirit” or a force of fate, as a warning or admonishing voice (of conscience) and doom. Etymologically, according to Duden dictionary, it is a derivative of the Indo-Germanic root da(li) and stands for partitioning, tearing or cutting.
Gabriele Basch has chosen this ambiguous term for her already sixth solo exhibition with us, where she will show new works from her work groups Malerei (painting) and Cutout.
In the foil cutouts for which she uses black construction foils instead of paper, motifs and techniques are united in soft diverse flowing shapes, which strive to integrate picture and space. Initially recognizable motifs, sharp contrasts and cutting edges are turned, through the painting of the foils, into blurry elements with illusionistic motifs. The specific modes of articulation particular to plastic, elasticity, lightness and soft materiality, offer possibilities that are not viable with paper. The flexibility of the material allows the artist to exceed the usual limits regarding size and presentation: the cutouts stretch from ceiling to floor and bulge – round and wavy – in various formations. Because of the dissolved geometry of the edges, these spatialized shapes approach a physical encounter through the choice of materials.
The thin line between control and loss of control becomes a side issue; in the treatment of the material with a scalpel, the close relation between destruction and design is shown. The originally calculated incisions take on a life of their own as unplanned forms. Ornamental meshworks in space arise which recall architecture. The dominance of the cutouts is broken by paintings also conceived for this exhibition.
The painting of Gabriele Basch has developed away from all the narrative elements that prevailed in her early works. Observed out of the corner of the eye, these pictures seem to show sumptuous tableaux, compelling landscapes and spaces, colors and forms, which our senses assemble into a recognizable world. Taking a closer inspection, the depiction yet disintegrates into fragments, blank spaces and particles without familiar coherence. Just as an initially familiar shape can prove to be foreign in the next moment, the representation shows an abstract world and reflects the possibilities of painting.
The pictorial worlds here proposed, whether on canvas, paper, or plastic foil, are a balancing act between illusionistic and really existing motifs, which Gabriele Basch stages with virtuousity. Over-sophisticated ornaments correspond with grotesque chicanery in both the cut outs and the paintings. They overlap and clash in at times sharply suggested contours and displace the hitherto narrative aspect of the works.
Gabriele Basch completed her art studies at Berlin’s Hochschule der Künste (UdK) as a student of Professor Jürgen Diehl. She has been the recipient of, among other awards: the stipend of the Villa Massimo in Rome, the Berlin Senate’s stipend for Istanbul, and the Erasmus stipend at London’s Royal College of Art.
Her paintings and paper cutouts have been shown in important exhibitions at, among other places: the Kunsthalle Hamburg, the Contemporary Art Center in Istanbul, the MARTa at Herford, in Rome’s Villa Massimo, the Stadtgalerie Saarbrücken, the Altana art collection, and the Museum Frieder Burda in Baden-Baden.