Jorinde Voigt | McNamara Art Projects, Hong Kong, China | 22.3.–12.5.2019
Since the mid-2000s Jorinde Voigt has developed a highly idiosyncratic graphic system for the visualization of experimental arrangements, experiences of reality, thoughts, sensory impressions, philosophical writings and music – a system which she is continually developing and expanding through the addition of new elements. Voigt translates the objects under investigation into a grammar of her own, which then finds expression, sometimes as meticulously drawn systems of lines and script, sometimes as turbulently dashed specks of paint (‘Congruence’), coloured collages or gold leaf inlays. She makes no distinction between abstraction and figuration, between the regularities of an algorithm and the spontaneity of freehand drawing, but rather, she explores the two poles of these supposedly rigid opposites within one and the same drawing, allowing things begun with precision and exactitude to shed all restraint in an unforeseen gestural fling. Her complex thought models can be read as the personal depiction of a reality conveyed via stages of re-forming, abstracting, translating and processing. They offer information on one’s own and other people’s perception of images.

 

The objects under Jorinde Voigt’s observation, to which she devotes herself for the most part in self-enclosed groups of works, can be natural objects such as wings, respectively the structure of wings and feathers as in ‘The Landing’; or a particular text such as philosopher Peter Sloterdijk’s writing ‘Stress and Freedom’ as in case of Voigt’s ‘Radical Relaxation’ works. In her more recent works such as the ‘Immersion’ series, however, the starting points are wholly processes of perception, apprehension and form-finding. She is increasingly concerned with a search for the innate constitution of inner and collective images – of archetypal forms.