In the Crucible of Meaning
by John Yau
For the past decade, Jorinde Voigt has been creating large-scale drawings on paper, using
traditional materials such as ink, oil stick, pencil, watercolor, and, more recently, collage. In the
drawings that she did before incorporating collage, the artist combined line and text to diagram
both factual and fictive activities, such as the flight of eagles, geographical directions, wind
patterns, rotations, shifting horizon lines, top-ten pop charts, kisses, and electrical currents.
Whirling across the paper, the sinuous patterns of lines and arrows—some of which may
overlap—mark relentless change as well as convey the potential for chaos and ecstasy that
resides within any system. Classification and pandemonium are inseparable. It is on the porous
border of this vast abyss—what is called “infinity”—that Voigt investigates the caesuras between
perception and knowledge, form and dissolution. One of the guiding principles behind the
drawings is the application of rigorous procedures: algorithms to decide the direction of a line or
the Fibonacci sequence to determine the number of lines branching off the initial one. Chance
and persistence are essential. The turbulent networks of lines transform the paper into both the
artist’s imaginative space and a visual map of the movements of various elements in time. (…) continue to read  [John Yau_Jorinde Voigt_EN.pdf]
Deutsch [John Yau_Jorinde Voigt_DE.pdf]

posted on 6. Februar 2007 by admin |