ARTIST:

Silke Schatz

Wurzelkind
Silke Schatz
Celle, Siedlung Georgsgarten Block 1 and Wall Mural
Silke Schatz
Elephantenhaus
Silke Schatz
Mothership
Silke Schatz
Engel
Silke Schatz
Mothership
Silke Schatz
Matare – Study 1
Silke Schatz
Wurzelkind
Silke Schatz
Wurzelkind
Silke Schatz
Wurzelkind
Silke Schatz
Wurzelkind
Silke Schatz
Wurzelkind
Silke Schatz
Mothership
Silke Schatz
Memories – one’s own and those one inherits – are a central concern of Silke Schatz’s approach to making objects. She describes the drawn line as “the extension of a thought”, and her spectral drawings of buildings designed in her hometown of Celle, Germany by modernist architect Otto Haesler have the quality of memory’s unstable presence in the mind.
Celle, Siedlung Georgsgarten Block I and Wall Mural, 2006 after otto haesler 1927
Silke Schatz
Celle, Siedlung Georgsgarten Block I and Wall Mural, 2006 after otto haesler 1927
Silke Schatz
Similarly, in her mixed media mobile Mothership, Schatz recreates twentieth-century aesthetics in terms designed to show up its distance from the present. Concentric rings of cardboard, painted in dazzling hues and inlaid with text and photographic clippings from newspapers, hang from the ceiling, like a modernist chandelier, revealing and concealing their interiors as they turn. Like the memory of an object once seen and held in the mind, Schatz’s work is a wilfully quixotic object, the lightness and frailty of its construction part of its examination of memory’s failures.
Engel
Silke Schatz
Elephantenhaus
Silke Schatz
Elephantenhaus
Silke Schatz
Much like medieval ‘memory palaces’ – imagined architectural structures, designed to aid in memorising texts – Schatz’s drawings attempt to impose the logical structure of actual space on the messy stuff of human thought. Like the partiality of memory, architectural drawings show an ideally unpopulated vision of the world; their ruled perfection is a kind of expunging of human unpredictability. Schatz’s drawings accept this, overlaying spatial information in complex layers, rendering the imagined space of utopian modernism uninhabitable and distant.
Mataré – Study I
Silke Schatz

Text by Ben Street

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