Selected works by Silke Schatz

Silke Schatz
Mothership

2003

Mixed Media

140 cm diameter height variable
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.
Silke Schatz
Elephantenhaus

2003

Pencil and colourpencil on paper

240 x 290 cm
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.
Silke Schatz
Celle, Siedlung Georgsgarten Block I and Wall Mural, 2006 after otto haesler 1927

2006

Leadpencil and Colorpencil on Paper

2 parts; 230 x 165 cm, 230 x 82.5 cm
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.
Silke Schatz
Wurzelkind

2006

Lagerfeuer 1950s found lamp with eight coloured lightbulbs 71 cm Diameter, approx 100 cm from floor Figures: Martha und Erich Schatz Clothing, Shoes, Wig, Wood, Cardboard, Photocopies on Fabric, Filling Material, hains, Screws, Lamp, Wire 190 x 102, Drawing: Celle, Thaers Gartenhaus, lead pencil on coloured paper, 294.5 x 460 cm (2 parts)

Silke Schatz
Engel

2005

Mixed Media

187 x 51 x 43 cm
Silke Schatz
Mataré – Study I

2007

Ink and photocopies on paper

47 x 68.5 cm

Text by Ben Street


Articles

SILKE SCHATZ AT WILKINSON GALLERY


In the third solo show at Wilkinson Gallery, Silke Schatz presents a personal portrait of the city Celle in Northern Germany, the town where she was born. It reveals two aspects of the town, private and public.

Today the town appears as a tourist town with a castle and the typical wooden framework houses of the Lower Saxony area. In the show (which was first exhibited in the Kunstverein and Bomann-Museum in Celle, April 2006) Schatz presents works based on the architect Otto Haesler and an installation relating to her grandparents who lived in Celle.
In the late 1920s until 1933 Otto Haesler, who was a pioneer of the �Neues Bauen�, started building his suburban colonies such as the Siedlung Georgsgarten, 1927 as well as villas, such as The Direktorenwohnhaus, 1931-32. In the early 1930�s Walter Gropius asked him to become the director of the Bauhaus in Dessau, but he declined, because of his responsibilities in Celle.

Schatz did not know until she began her research, that this architecture existed and it was a surprise for her to see his beautiful buildings, reduced in form, with colour as a simple method to underline the architecture. In this show, she has made models of two of his buildings. The first model, Georgsgardenblock, is painted back to the buildings original colours after a lithograph from Karl V�lkers. She has also added a wall mural in the style of 1970s naive painting.

With the second model, Direktorenwohnhaus, she has separated all parts of the structure by spray-painting them into a colourful design adding a ikea carpet together with stencils on the facade. Schatz has also made drawings of Haesler�s buildings, making her own imaginary or idealistic additions.

Source: www.wilkinsongallery.com