Reduction through Compression

Judith P. Fischer
Veronika Rodenberg
Tonneke Sengers

The quest for objectivity, for clarity and logic is given a facet that is untypical of minimalism: individuality. And it is precisely this individuality that gives the work its distinctiveness, its beauty. This is what fascinates about Tonneke Sengers' architectural illusions, which are based on the rhythmic repetition of simple basic forms. Structured in black and white and highlighted by cut-outs, the actually two-dimensional panels float like sculptural spatial constructions a centimetre in front of the wall. Depending on the incidence of light, an additional shadow emerges, which further irritates the already unfathomable spatial perception of the slanted cracks. Tonneke Sengers heightens Escher's impossibilities in minimalist spatial illusions. The pure aesthetic of individual minimalism experiences its own radicality in Veronika Rodenberg's extremely reduced, compressed geometry. Here, too, surfaces float in front of the wall at slightly different distances. For an additional spatiality, Veronika Rodenberg merely needs the gradation of glossy and matt dark blue of two surfaces, which together unite to form a tension-filled rectangle. Judith P. Fischer finally dissolves her linear formal language into amorphous three-dimensionality. Her lines develop space, strive for spatial diversity and infinity. For example, she bends the steel line into a circle, which she winds into a spiral-shaped space, thus opening it up to endless expanse. Or she forms circular meanders out of lines, which she either intertwines or closes into clear forms and composes into each other. Always intent on being open for maximum development despite purist density. Reduction through Compression presents an aesthetic in the field of tension between compositional intensity and soothing void.

Exhibition opening Cornelia Hellstern 10/05/2022
short biographies of the artists