Christiane Feser: New Work
Yesterday we featured the work of Christopher Russell and today we feature the stunning cut paper collages of German artist Christiane Feser, one of two new exhibitions currently on view at the Von Lintel Gallery running through April 21, 2018. Christiane Feser’s show, New Work, coincides with her work featured in The J. Paul Getty Museum exhibition, Cut! Paper Play in Contemporary Photography, in addition to Christopher Russell, Thomas Demand, Daniel Gordon, Soo Kim, and Matt Lipps.
Christiane’s constructions are large scale and compelling in their intricate cutting and illusionistic qualities. Folded paper is photographed as massive still lifes, brought to life with light and shadow, then the photographs are manipulated and cut, creating work that is photographically sculptural, playing tricks with our sense of perception.
Christiane Feser was born in Würzburg, Germany in 1977. She studied photography at the Offenbach University of Art and Design in Germany. She has exhibited at The J. Paul Getty Museum, Los Angeles, Solomon R. Guggenheim Museum, New York; Centro di Cultura Contemporanea Strozzina, Firenze, Italy; the Mönchehaus Museum, Goslar, Germany; Frankfurter Kunstverein and the Museum for Konkrete Kunst, Ingolstadt, Germany among others. Selected permanent collections include the Solomon R.
Guggenheim Museum, the Mönchehaus Museum and the DZ Bank Art Collection among others. The artist lives and works in Frankfurt, Germany.
“Feser’s fundamental artistic purpose is the bending, capturing, refinement, and encapsulation of the properties of light. To make a functional partnership of the human eye and the mechanical lens. And there’s nothing more like a photograph than that. Graphically crisp, brooding, and a bit delirious at a distance, these works incite an absolutely jovial instinct to rush closer and figure out their secrets. This proximity and closer-paid attention is richly rewarded, as the eye slowly decodes the hyperreal effect as being, in fact, merely real.”— Shana Nys Dambrot
In her ongoing series, Partition, she constructs paper into geometric forms and arranges an intricate and repetitive pattern that is illuminated for the camera to create an interplay of light and shadow. The printed photograph is then the starting point for manual interventions by the artist through cutting and folding to take the photograph from two to three dimensionality. The result is a play on reality and illusion in which the viewer is challenged to decipher depth, surface and a real shadow from a photographed shadow. These unique photo-objects can be perceived as both photographs and sculpture and ultimately meditation on perception. – the Von Lintel Gallery
Posts on Lenscratch may not be reproduced without the permission of the Lenscratch staff and the photographer.
Bill Westheimer: New Vistas: Photographers working with the LandscapeJanuary 31st, 2020
Bill Armstrong: Falling Through HistoryDecember 17th, 2019
Scott B. Davis: on the probability of darknessJune 10th, 2019
Louise Russell: Points of ViewApril 10th, 2019
On Collaboration: PWMD (Marissa Dembkoski & Paal Williams)April 9th, 2019