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Vorherige Abschlussarbeit nicht möglich (Anfang erreicht)
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Institut für bildende Kunst
Bildende Kunst; Studienzweig Bildende Kunst
Betreuung: Göthe, Julian
Tête-Bêche,
2016
Abschlussjahr: 2016
Life at the top is exactly as it seems – wonderful!
Karoline Dausien’s instant textile drawings which she self identifies as “sewings” are chunky sandwich like stacks of foam, leather, cheesecloth and plastic which exhibit slapdash machine sewn renderings of seemingly familiar imagery. Her works pleat off the wall – poking out into space, yet retaining a curious flatness – their surfaces revealing sewn together De Kooning-esque snapshots of quotidian life. Dausien culls content from myriad media: bizarre quotes and images from the news, cheeky design elements, architectural structures, and domestic as well as institutional displays of empty frames or wonky sculptures. All of these images are chewed up by her sewing machine, the threads stabbing through the slabs of material – locking the image to the medium – and in some cases disparately joined together, seemingly to form a curious personal taxonomy of the world. Dausien is selective in building her taxonomy – architectural structures appear in impossible perspectives, interior spaces exhibit either empty frames or half-built windows, lines trailing off to nowhere – carefully choosing how much representation to give the viewer. Dausien’s papier-mâché and ceramic works follow a similar logic – crowded relief works of bullion coloured papier-mâché heads barking and chiding one another, as the glinting gold of her low cost material seems to playfully poke the history of Byzantine reliefs. Dausien’s methods of content selection and playful push-and-pull of the formal line between wall relief and painting give the viewer of these works ample space for disjointed narratives to arise – to do to the viewer what her sewing machine does to her surfaces – pull us towards the work, weaving her lines into the material as the objects themselves push off of the walls. (Nicholas Hoffman)
Karoline Dausien’s instant textile drawings which she self identifies as “sewings” are chunky sandwich like stacks of foam, leather, cheesecloth and plastic which exhibit slapdash machine sewn renderings of seemingly familiar imagery. Her works pleat off the wall – poking out into space, yet retaining a curious flatness – their surfaces revealing sewn together De Kooning-esque snapshots of quotidian life. Dausien culls content from myriad media: bizarre quotes and images from the news, cheeky design elements, architectural structures, and domestic as well as institutional displays of empty frames or wonky sculptures. All of these images are chewed up by her sewing machine, the threads stabbing through the slabs of material – locking the image to the medium – and in some cases disparately joined together, seemingly to form a curious personal taxonomy of the world. Dausien is selective in building her taxonomy – architectural structures appear in impossible perspectives, interior spaces exhibit either empty frames or half-built windows, lines trailing off to nowhere – carefully choosing how much representation to give the viewer. Dausien’s papier-mâché and ceramic works follow a similar logic – crowded relief works of bullion coloured papier-mâché heads barking and chiding one another, as the glinting gold of her low cost material seems to playfully poke the history of Byzantine reliefs. Dausien’s methods of content selection and playful push-and-pull of the formal line between wall relief and painting give the viewer of these works ample space for disjointed narratives to arise – to do to the viewer what her sewing machine does to her surfaces – pull us towards the work, weaving her lines into the material as the objects themselves push off of the walls. (Nicholas Hoffman)
Dank an Martin Martinsen, Greta Dausien, Julian Göthe, Anne Speier, Michael Part, Bettina Dausien, Peter Alheit, Liesl Raff, Thea Moeller, Ida Westh-Hansen, Helmut Heiss, Nicholas Hoffmann, Björn Lundell, Bartholomäus Kinner, Leonie Rebentisch, Nora Rekade, Saskia Te Nicklin, Johannes Hoffmann, Josef Lämmermayer, Gabriele Edlbauer, Julian Turner, Elisabeth Greinecker, Basil Schu, Christopher Steinweber, Ole Funder, Katharina Nagy, Lars Kjærulf Møller, die Projektförderung der Akademie der bildenden Künste Wien, Fachbereich Prof. Julian Göthe.
www.karolinedausien.de
www.karolinedausien.de