Opening on April 27th, 5 - 9pm
Stolle's work is a result of the binary combination of black and white.
From this optical resource, Stolle creates things, forms and structures in a pure and almost isolated existence. Her solitaires of sculpture and drawing are unique in their creation as well as in their appearance and avoid worldly references.
The ink drawings are developed like a sculpture: Stolle scratches, cuts, scrapes and grinds her papers, reworking each stroke, grid, plane and hatching. The surface gradually alienates itself from the paper and blends into the apparent haptics of the structure. Stolle's deconstruction of medium, material and structure leads to a diffuse materiality. She uses it to engineer her ascetic as well as comprehensive formations, such as geometrical basic figures and complex polyhedra. Comparable to abstract grisailles, which are based on the influence of the light and shadow effect between black and white, her objects are mediating fine graduations and stark contrasts.
The wall object is a sculpture made of pliable wood and has been bent and pulled into its intricate shape under mechanical and thermal influence in a step-by-step work process. It hardly gives any idea of the raw material.
The outer shape is similar to the lightness and agility of a rolled paper strip - magnified in a fantastic manner and dimension. In its dimension and material properties however, the object becomes a massive sculpture. The ambivalent effect of the structure with the heavy, glossy black outside and the bright white interior underscores Stolle's ability to manipulate material and the viewer's gaze.
Wanda Stolle's unique poetry in »passing« unfolds in her oddly conceived minimal shapes and abstemiously applied light, between black and white, the lightness of the paper and the massive wooden sculpture.