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A distant evidence of form
Text by Cristina Petrelli

Macerata, Italien




Katrin Plavcak observation of things seems to happen stage by stage.The artist starts from an initial attitude of confidence and love towards the shape, during which she directly takes elements from the reality, and she subsequently goes to another one, where uncertainity energes. Doubt grows till it denies the image uniformity and prevents the recognizability of the subject.

It is an operation which is realized through the introduction of disturbing elements, both implicit, like reflections and transparences, of which you can’t say the origin, and clear, by dividing the surface into a series of parallel lines or networks. It’s a kind of visual filter that strongly limits the sensory perception of the image. It’s an interference which causes a multiple process of interpretation. Forms are continuously changing, they transform and mix giving the sensation we are in front of the pieces of the construction game or a puzzle. It’s impossible to say what it is, which is the subject we are looking at. What we are in front of is never completely understandable ant it always remains deeply ambiguous.Even colour is used with tones so misted over, liquid and flimsy, that they don’t help to recognize the subject. In fact the realization happens in a solely pictorial way.

The artist, while using this particular technique, intensifies its more difficult characteristics, those ones referred to the representation of space. Even when she uses different means, like sculpture or installation, she still works on a fragmentation, a division of elements, that doesn’t allow a unitary space. This aspect becomes more complicated with painting, that’s why Plavcak insists on the use of this technique. Through inserting pictorial disturbing elements, the artist realizes several visual levels inside the regular surface of the canvas, which don’t allow you to have a unitary image. The organ of sight looses, this way, its reliability to have a real understanding of the world. We can’t state we know or own something only because we see it.

The interferences, Plavcak inserts, let us understand how just seeing is not a complete operation, but it’s relative and it gives only a partial approach to things. The different visual levels on the surface of the work gives more informations than we can normally have. We aren’t in front of an only subject, but a kind of sedimentation of reality, an amount of its elements. This coexistence creates a space – temporal short circuit inside the work, which becomes as it was a microcosm Its reference is to the universe, to an endless and variform vastness, which man is only a little part of. The clear being ambiguous of the subject, brings to a mental and not physical representation, that allows man to take a place in the world. It moreover allows to realize that trusting your sight is a human deficit, which limits and prevents from understanding we are part of a whole. Fragmentation and sedimentation rises just from this, the artist realizes them in order to get coexistence in a precise whole of more times, more spaces, more places.



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