Carpets Cooperation Embroidery Installations Objects/Sculptures Performance Projects Works on Paper

Forest

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Wald, Teppichboden, Detail
Wald I., Teppichboden, 250 cm x 250 cm, 2009
Braunschweiger Waldstück, Teppichboden, ca. 150 cm x 250 cm, 2011
Wald II., Teppichboden, 450 cm x 250 cm, 2010
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 Wald, Teppichboden, Detail
 Wald I., Teppichboden, 250 cm x 250 cm, 2009
 Braunschweiger Waldstück, Teppichboden, ca. 150 cm x 250 cm, 2011
 Wald II., Teppichboden, 450 cm x 250 cm, 2010
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In stories, films and dreams, the forest often stands for the synonym of getting lost, of getting lost, in the actual sense of the event as well as in the metaphorical sense. Where am I?

The forest is the mystical place of the fairy tale. Everything lies in semi-darkness or darkness, is only dimly recognisable and thus has an unhindered effect on our imagination. ‘…and they lost their way in the forest, the forest became darker and darker, impassable and threatening and they lost their bearings’

Soon afterwards, however, the cathartic moment usually follows. The sun shines through the branches, not forgetting the birdsong and the animals that have finally turned towards you. The path, a clearing! For civilised people, it is another world altogether, one that has almost disappeared from our experience.

I wanted to make the little-used old word DICKICHT tangible in this work. Metaphorically, ‘thicket’ is also used for an impenetrable tangle. In other words, an occidental jungle. Increasingly unknown, although the image of it is apparently archetypally rooted in us.

In this upside-down carpet-forest, plants from flowerpot culture and nature come together to create an artificial forest. The carpet material itself is so far removed from nature that at best it reminds us of the longing or fear of nature, rather than even coming close to fulfilling it.

Or is the memory that the picture evokes already exhilarating or unsettling enough?

Does this thicket of plant silhouettes rather attract, or does mistrust spread? You can recognise shapes and material; even when upside down, there is a clear image of impenetrability. The superimposition of several layers and the blending of cultivated and natural plants and the artificial material can create an ambivalence towards this piece of ‘forest’.

To what extent is my fear of – or longing for – nature a romantically distorted idea?

The wall installation ‘Forest’ questions physical and psychological aspects of our perception. The cosy material carpet, which despite its 100% polyamide content appears organic due to the motifs, reinforces the moment of paradox.