Blue Heads (2018)

Reconfigure (2018)

Parts and Hybrids (2017)

Animal (2015 - 2016)

make up (2015 - 2016)

Climbers (2014 - 2016)

Black Bird, White Bird (2014 - 2016)

Tree Babies (2014 - 2016)

Non-Retinal Heads (2014)

Doppels (2014 - 2016)

Letters from Noordhoek (2013)

Breathe (2012 - 2013)

Memorystickwall (2011)

& Pooof ! (2010)

Unravelling... (2008)

Plastic (2000 - 2008)

Vessels (2005 - 2010)

Wordfry (2006)

Compost (1993 - 2000)

Mapula Project (1993 - 2000)




Doppels


In the paperworks, doppels/mirror (2013 - 2014), one blob of paint, pressed between two leaves of paper instigates a pair and suggests the principle or concept used in my previous works, such as press moulding and slip-casting. The question of there being a single original inkblot is put to the viewer. Perhaps there are only ambiguous copies and possibilities of new ones.

Used as a focus of analysis and devised by Hermann Rorschach (1884 - 1922), the ambiguity within the inkblot became a means to analyse the subject’s perceptions; detect underlying thought processes and examine personality traits.

In taking a more playful approach in this work, a plethora of characters, from real life, imaginary, symbolic or otherwise, surface. For example, hoola hooper; puur love; and her offspring; angels; drifters; psycho-dreamer; code-breakers and a hundred others (of one other).


Click thumbnails to view large-format.

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Details of Doppels
Wall installation, 140 units.
  A5 folios Hahnemuhle
  3,2m x 2,6m x 25cm






MUSIC AND LYRICS - Rustenvrede Gallery



Exhibited at Music and Lyics, Durbanville. Rustenvrede Gallery. Opening Tuesday 16 September 2014. Until Thursday 9 October 2014 .



Doppels





Turbine Art Fair - Lovell Gallery



Exhibited at Turbine Art Fair, Johannesburg. Opening Thursday 17 July 2014. Until Sunday 20 July 2014



Doppels





What Lies Beneath



Exhibited at Equus Gallery, Cavalli Estate. Opening Saturday 19 April 2014. Until 20 July 2014

In the exhibition, works explore surface and that which is below, concealed, absent and sublime; forms are floating, warping, dissolving, dispersing and altered. Surface can refer to ground, water, air, bark on a tree, a smudge of ink. Surface is about what is visible. And many of us are accustomed to seeing the world based on seeing only the surface:

“We 'look' at a problem. We 'see' the point. We adopt a 'viewpoint'. We 'focus' on an issue. We 'see things in perspective'. The world 'as we see it' (rather than 'as we know it' and certainly not 'as we hear it' or 'as we feel it') has become the measure for what is 'real' and 'true'.” (Kress and van Leeuwen 1996, 168).

To connect with the unknown, the subconscious realms, dreams, convenient and inconvenient emotions, materials like paper, clay, plastic, paint, ink, threads are agitated, stirred, cut, scraped, woven, moulded, copied, cooked, re-worked and re defined. In the process of a movement, even a slight shift, an otherwise anomalous but curious association might connect with a false perception/s. The ideas embedded in the materials that land up by the artist to be the artwork is the result of the process and continually carries on being a process – one of Search, Consider and Question. Somewhere in all the dynamic matrix, hopefully we find a single visual, tangible moment that can be our guides and clues that transform and codes that can be cracked and heal our selves.

Footnote:
G. Kress and T. van Leeuwen. 1996. Reading Images: The Grammar of Visual Design

Karin Li(j)nes (2014)


Doppels
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© 2019 Karin Lijnes. All rights reserved.