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La destinazione dello spazio in termini sociali e spirituali definisce la sua ricerca. Ispirata dalle architetture utopiche degli anni ’60, le rudimentali strutture/sculture che realizza sono spesso modulari e portatili. Le piccole sculture e i disegni di Fawn Krieger non sono altro che la ricerca di geografie alternative collettive che nascono dalla propria esperienza.
La ricerca si fonda nella tridimensionalità delle cose, nell’idea che racchiude uno spazio sconosciuto o ignoto, astratto o tangibile, fatto di opposizioni e polarità. L’artista americana lavora sulla tradizionale nozione di spazio come building e di come sia possibile porsi di fronte o dentro in termini tanto relazionali quanto estetici.Il processo è quello della scavatura e della costruzione di moduli rudimentali e strutture fantastiche che mostrano la natura simbolica ed arcaica dell’artista.
www.fawnkrieger.com
www.roomproject.info
Born New York, 1975. Lives and works in New York, USA.
What does it mean, right now, to transform occupied territory into inhabited space?
My handmade, D.I.Y. constructions collapse interior landscapes and expand them into body-scaled architectures. Often my projects allow for social scenes or circumstances where particular kinds of dialogues could happen. My interest in performative spaces has grown to include my ongoing collaboration called ROOM with the art-punk band Tracy + the Plastics, in which I design and construct sets inspired by domestic interiors that house music and video performances. I am so moved when I see people within my sculptures: sitting, standing, floating. These are the moments for me, when my work completes its own form through active physical engagement, and when the individual spectator becomes part of something outside of themselves, a participator, a citizen.
How can the elastic nature of social space inform the way we navigate through and negotiate with our surroundings?
I am looking for hidden, secret time-pockets forgotten, found, and lost again. I sift through tattered histories in search of a parallel territory of memory. Many times I feel like I am constructing handmade homes to embody ecstatic hopes as well as insurmountable losses, homes as playful as they are gargantuan. Touched by the fantasy of imagined, theatrical scenes so accessible and manageable, my hands stretch and unfold the physical intimacy of these spaces to a scale large enough for others to inhabit with me.
I take up room to make more.
The destination of space in social and emotional terms defines Krieger's research. Inspired by the utopian architecture movement from the 1960's and 70s’s, her rudimentary sculptures are often modular and portable.
Her small works and drawings give form to a geography and an internal vision of experience. Krieger's research bases itself in the three dimensionality of objects; in the ideas and suggestions that form unknown sites, abstract and embodied.