“The Power of Imagination is the Real Medium That I Use” Jorinde Voigt in conversation with Stephanie Damianitsch
Stephanie Damianitsch: When people discuss your work, they always talk about the medium of drawing. But it is obviously not that simple to define the status of your works. They use geometric and expressive linear markings but also always incorporate handwritten notes and numbers, and they are described variously as projection surfaces, visualized thought models, scientific experimental designs, notations, scores and diagrams. So I would like to begin our conversation by talking about your thoughts on drawing, going back to 2002 and 2003, when you turned away from the medium of photography and created your first notations, such as the series Notations Florida (ill. p. X) and Indonesia (ill. p. X). What caused you to turn your attention to the medium of drawing?
Jorinde Voigt: Initially I was primarily interested in the photographic image. But on a trip through Florida I became aware that I cannot free myself from the perspective that is inherent to the photographic image. It was out of aversion to this perspectivism that I decided to put the camera aside, and I asked myself how, in a short amount of time and independent of technique and its associated restrictions, I could describe situations. And I decided to make notes of only two things: what it was about the thing I wanted to photograph that interested me, and my reasons for taking the picture. I had white paper and a pen with me and started to position things on the paper in the form of crosses, or to mark directions of movement – for example those of white limousines (ill. p. X) – in the form of arrows. I still took stock of situations, but the difference was that I no longer pressed the shutter but rather took notes. In this way, pictures emerged that could no longer be classified as perspectival; rather, they reflected the juxtaposition and the simultaneity of what I experienced – comparable to an aerial view. And not least, with these notations I wanted to make visible what is behind things. This stands in contrast to the photographic image, where I always had the feeling that the represented image surface actually obstructed my view of the really important things, of the processes that cause something to look the way it does. I always ask myself what the conditions are of what is visible to me, what is the invisible back side of what I perceive, which is absolutely decisive for comprehending the situation.At the same time I observed that I could deal with these kinds of pictures in a completely different manner. I was able not only to capture situations but also to describe sequences of actions or notate above my graphic markings “repeat every hour,” so I suddenly had an instrument available for choreographing the events as well. By implementing all the elements I was familiar with from classical-music scores, I was finally able to both describe and play with attitudes. This musical factor that found its way into my work in this manner allowed me to make everything I perceived a component of this notation process. This was also linked to the discovery of what dimensions in our imagination it was possible to access through markings on a piece of paper. When I first discovered this spectrum of possibilities, to which new aspects were added almost every day, it became clear that I had discovered something that would occupy me for the rest of my life. So the power of imagination is the real medium that I use….continue to read EN_Interview_Jorinde Voigt in conversation with Stephanie Damianitsch.pdf
„Die Vorstellungskraft ist das eigentliche Medium, das ich benutze“. Jorinde Voigt im Gespräch mit Stephanie Damianitsch (Berlin/ Juli 2015)
Stephanie Damianitsch: Wenn über dein Werk gesprochen wird, ist immer auch vom Medium Zeichnung die Rede. Dennoch ist es augenfällig nicht so einfach, den Status deiner Arbeiten zu definieren, die sich neben geometrischer wie expressiver linearer Markierungen stets auch handschriftlicher Notizen und Zahlen bedienen und unter anderem als Projektionsflächen, visualisierte Denkmodelle, wissenschaftliche Versuchsanordnungen, Notationen, Partituren oder Diagramme beschrieben werden….DE_Interview_Jorinde Voigt im Gespraech mit Stephanie Damianitsch.pdf