Karlien Adriaensen

Karlien Adriaensen

St Lucas School of Arts Antwerp

We don’t always see the beauty in the everyday functional objects around us. Karlien Adriaensen is constantly observing her surrounding in order to find objects that attract her attention. In the process of finding the suitable motives, she works with the blurred view through her unfocused camera lens. Although she uses various mediums and is not stuck with any technique or material, photography plays a big part in her works. This way of working with unsharp close-ups subducts the primary meaning from the objects and transforms them into indefinable shapes and colours. However, the photo alone is rarely the final work of art. Different media are combined and thus often form a three-dimensional object that should be experienced from every angle. In the exhibition in Duesseldorf, a total of 14 works can be seen, which bring the room to life with their extraordinary forms and colours. Seven of the objects are printed Foamex sheets. Cords connect the corners of the rectangular pictures and tie them together, which transforms them into a three-dimensional object.

The new forms, which emerge from the vague images, provide the basis for the seven textile works. It also illustrates in another way, how the original object can be modified and which forms can arise from this special kind of observation. The defined purpose of the object loses its meaning, it becomes open to any associations and shows the pureness and simplicity these items contain. The bodily aspect of the objects only becomes apparent through the abstraction. In Antwerp, Karlien shows a further development of her previous works. The installation consists of different types of amorphous forms, which are bearers for woollen cords. They create a kind of soft architecture in the room, but are still physical. As in the previous works, the bodily aspects of the objects are determined by their function. The artist discovers the beauty of the self-evident through the intensive examination of the motives she uses.

© Anna Heldmann