Echo Alphabet: Katrine Bobek, Marie Rud Rosenzweig
Katrine Bobek, Bloom, 2023
Katrine Bobek, Freedom, 2023
Katrine Bobek, Kiss, 2023
Katrine Bobek, Strings, 2023
Katrine Bobek, Woods, 2023
Marie Rud Rosenzweig, Cross Section, 2023
Marie Rud Rosenzweig, Stem, 2023
Marie Rud Rosenzweig, Things of the Sky, 2023
Marie Rud Rosenzweig, Weather Vane, 2023
Marie Rud Rosenzweig, Works on Paper, 2023
Echo Alphabet presents a series of new paintings by Marie Rud Rosenzweig and Katrine Bobek, whose chromatic investigation reflects on the idea of an echo: a reoccurring presence of colours, shapes, and motifs that creates the structure inside a painting.
Painting is a form of visual poetry that uses colours’ tonalities to create rhythms and structures and shapes stories, concepts, and ideas. Deeply inspired by poetry, the show rotates around the book Alphabet, published in the early 1980s by the world-renowned Danish poet Inger Christensen. Divided into fourteen sections, each tied to a letter of the alphabet, Christensen uses the mathematic construct of the Fibonacci sequence
to dictate the number of lines found in each alphabet letter and reflect upon the systems around which poetry is organised. Throughout the centuries, scientists have discovered that the Fibonacci sequence is the bone structure of many seed heads, pinecones, fruits, and vegetables that display a spiral pattern, as well as our fingers’ bones and those connecting the knuckle to the wrist. The hypocenter - the point under the earth’s surface, where an earthquake rupture begins - animating the show Echo Alphabet lies here: in the linguistic structure that creates this series of poems and in the attempt to unveil the mechanism that transforms words into meanings. Inger Christensen applies Fibonacci’s mathematic system to poetry. Her gesture is an attempt to find out whether this sequence, which constitutes the core structure of many shapes of this world, can also be applied to language. The show Echo Alphabet attempts to do a similar action, collecting powerful visual poems in the form of paintings that materialise Bobek’s and Rud Rosenzweig’s desire to create ‘systemic paintings,’ namely pictures that embody an infinitely applicable construct.
In Katrine Bobek’s paintings, the systemic structure is embodied by
the presence of reoccurring human-like silhouettes. They appear and disappear as streams of colour emerge from a series of multi-coloured pale points, which look like flashes of light in the background. In Bloom, two figures bounce out of a field of pale dots of primary colours, walking towards the viewer through an unpaved path. They appear in a transition like the blooming field of colours around them as if they were the echoes of presences coming from another spacetime. In Kiss, we encounter two genderless bodies wrapped in large pieces of textiles that emerge from the coloured background. We never see their hands or feet. Whereas in Strings, a flower of the same size as the human-shaped figure seems to whisper that these presences exist, even though none knows of them; they were the protagonist of mythological tales that have never been narrated before.
In Marie Rud Rosenzweig’s work, the system begins with an image that is traceable to a referent. Yet, it soon dissolves into an oniric scenario of loosened objects, unconventional shapes and opaque colours. In paintings like Stem, colours have a patina which seems collected from another time, and the subject of a flower inscribed into a triangle reminds of The Little Prince’s surreal story recounting his attempt to draw an elephant inside of a snake’s body. Rud Rosenzweig’s paintings are populated by arcane entities whose identity dissolves into a composed, yet eerie, combination of undertoned colours, shapes and forms. Her paintings seems to hide something within the images they show, as if an essential part of the work remains invisible to the eyes.
As the title of the show anticipates, Rud Rosenzweig and Bobek’s paintings present the ‘alphabet’ of their individual visual language, communicating feelings, thoughts and desires through the echoes of colours, shapes and forms. An echo is a sound that reverberates and repeats because the waves bounce back off smooth, hard objects, the same way a rubber ball bounces off the ground. As the ball changes trajectory, so does sound. By changing direction, the echo never reverberates the same way as the original sound.
The show combines these visual poems into a structure that helps the imagination to enter otherly realms, transforming these paintings into stereograms where, only by observing carefully and profoundly, we can start perceiving the presence of something that the eye could not see before.
Katrine Bobek (b. 1990) is a Danish artist based in Copenhagen. Bobek’s folkloric figures inhabit one otherworldly scene inside and after another, forming a condensed milieu that does not care for fixed categories. It is this attitude that lets compositions and an off-centered use of symbols melt seamlessly; the sun, the sky, the clouds all burst out of trembling landscapes with a blustering verve or with a serene simpleness.
Katrine Bobek holds a degree from Academy of Fine Arts Vienna. Her recent exhibitions include “The Lurid Seasons, 2022, M+B Gallery, “Cradle Orchestra,” ADZ, 2022, “Tuning violet tangles,” Pina, Vienna (2021), “Star,” Fonda, Leipzig (2021), “10,” PM/AM Gallery, London (2021).
Marie Rud Rosenzweig (b. 1991, Denmark) has studied at The Royal Danish Academy of Fine Arts in Funen, at Univärsitet der Künste in Berlin and Kunstakademie Düsseldorf. In her artistic practice, Rosenzweig employs painting, installation and text in a narrative sense. Thus, her artworks can be regarded as reflections of a hidden story. A larger narrative that unfolds in fragments that the viewer encounters through words, form and color.
Recent exhibitions include the solo exhibition Kipple, Kunstforeningen Gl. Strand (2023); The Colour of Pomegranates, Mamoth, London (2023); In the Zone, Alice Folker Gallery (2022); Kassandras Søstre, Rundetårn (2022); Likert; never, rarely, sometimes, always, Baka’d’Busk (2021). In 2015 she was nominated for the award for young painting talents, the Schulz-Stübner Prize.