ORNAMENTS OF IMAGINATION

Think big- this motto does not only speak of the size of Gabriele Basch’s cut-outs. With 31.5 x 31.5 and 38.5 x 38.5 inches her works exceed to the scope of delicate transparent filigree work, which equals the precision of miniature silhouettes.  In an aesthetic way Basch's works deal with nothing less than the greatest paradox of the Western art culture: the skillful transition between area and space. However the issue is not about a simple discussion of this contradiction. Basch takes it one step further in that she resolves this paradox in a bold and impressive manner.

The reference to ornamental art represents the key to the concept of Basch’s work.  In Romanesque art an ornamentation of flat space took place around the year 1000 C.E..   Abstractions of body and space were represented in paintings within strict guidelines.  Forgotten were the images of Byzantine art that attempted perspective yet were missing the literal framework.

The seeming regression back to two dimensional art was nevertheless a necessary step in paving the way for the central perspective used in the Renaissance. At least that is how one of the biggest art theorists of the 20th century, Erwin Panofsky described it. Only then when area and space no longer were separate was it possible to create a convincing illusion of space within the guidelines of a linear perspective.

Basch tackles the conscious separation of area and space yet she does not relinquish the individual characteristics of ornamentation. The frame creates the wall of the exhibition space but not in the same way that an ornamental silhouette work would. In Basch’s work the ornament breaks into the room, yet the forms of her cut outs, which resemble calligraphy, give the white wall a more defined structure. The white lacquered aluminum surface of the 38.5 x 38.5 in. piece hanging on a white wall becomes defined only when the subtle shadow cast on to the wall becomes perceptible. The lamination of the materials character of the cut out forms with white on white, shifts the motif of the three moths from functioning as a symbol to complete symbolic content. Only the viewer positioned within the exhibition space with associations, thoughts, and feelings can give it meaning.

Basch’s other work also uses the triangular constellation of area, space and viewer in a unique way. Because the backside of the 31.5 x 31.5 inch was created in red the reflection from the wall gives off a shimmering glow in the corresponding shade. For the viewer the walls are the medium and at the same time the projection surface. From signs and symbolic forms, exhibition space and area, one is able to construct an individual space. The viewer becomes a necessary accomplice to Basch’s work and creates within their imagination a self contained space in which the paradox of flat space is lifted.

David Gärtner