INTERWORLDS- The Process of Tatiana Trouve

Tataiana Trouve’s mode of research and art practice runs a few parallels with how my own process has been evolving. The images from this exhibition in Berlin from 2016 are a great example of the duality and balance between drawing and installation, 2D and 3D in her works: Tatiana Trouvé “From Alexandrinenstrasse to the unnamed path” at König Galerie, Berlin.

The objects, installations or sculpture of her imagined spaces or memories add an extra yet seamless layer of depth to the experience of the drawings which is something I have been trying to achieve within my work. I came across this great text  “INTERMONDES – INTERWORLDS” by Elie During on her Perrotin Gallery artists page and have picked out the areas of the text that I found most relevant:

There is Tatiana who works alone, as solitary as a “savage” (Van Gogh used to say as a “bull”), manoeuvring the metal saw and the soldering iron in her Pantin studio; and then there is Trouvé, absorbed in the dreamy anamnesis of her own artistic activity, suspended between two worlds or two dimensions.

silence reigns but at the same time everything is highly charged, everything is tense, everything lives in microscopic agitation under the glaring neon lights. Time is not suspended but infinitely slowed down.

 

This world is not particularly opaque or complicated but it is implicated, implicit (Valéry would have said “implexe”), full of innermost recesses and meanderings. The Bureau d’Activité Implicite was the Brain and the Memory of the artist. There is no need to present it in its entirety in order to continue to disseminate its effects: the polders coiled up in the corners of the exhibition space open up new dimensions, while the copper pipes connecting the rooms, reach up to the ceiling, pass through the support profiles and suggest a circulation perpendicular to the natural strolling of the “viewer”.

Thus, this universe, that we well might say is withdrawn within itself and self-sufficient, incessantly spreads and contaminates the neighbouring environment under the most diverse forms: it seeks out passages (doors or aeration grids), it intrudes into worlds, into dimensions.

Intermondes – Interworlds are the other name for limbos. Here, they designate the formal equivalent of psychic spaces: spaces for waiting, latency, retentivity and reminiscence, spaces of imminence or slow transformation that operate in silence. The objects that they contain are less present than projected: even when constructed in volume, they are always drawn.

the obviousness of an autonomous and consistent universe that is nevertheless perfectly foreign to the usual coordinates and scales. This consistency relies, above all, on the temporality proper to the project and to artistic memory.

she imagines and constructs a space of concentration for her activity that is not a theatre.

Published by C.RodgersArt

Visual Artist

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