Artists
Holme, Myriam
horizontgefahr, 2019
Courtesy: Bernard Knaus Fine Art; (c) Myriam Holme; (c) VG Bild-Kunst, Bonn; Foto: Myriam Holme
The painterly, sculptural works and installations of artist Myriam Holme are characterized by an inherent tension found even in the experimental process of their development. Her heterogeneous oeuvre vigorously renegotiates artistic questions, consistently and generously expanding the space of the canvas to create its own, highly complex aesthetic. Holme’s practice is marked by a focused, incredible urge to create; what’s more, the resulting, extremely diverse use of disparate materials of varying value attributions creates scope for critical reflections on material cultures. We also see this in her concept for Einraumhaus (One-Room House), a project the artist developed with Philipp Morlock. As a walk-in artwork, it is inherently rooted in the principle of exchange and encounter, and in that sense can also be understood as a social sculpture.
Various found objects and materials including shimmering aluminum, bent copper, and metal plates collide in horizontgefahr (horizontal danger, 2019), mingling so as to fully and equally bring each of the materials’ respective powers to bear. Replete with moments of encounter and repulsion, opposition and superimposition, Holme’s oeuvre is one of remarkable depth. It finds concentrated expression in the contradiction and multidimensionality of her pieces, which hover at the limits of material control.
Fragility and robustness, grace and sensitivity, lightness and strength combine in works such as identation 6 (2021) to create an energetically charged union, releasing a nuanced and multifaceted idiom that suspends pulsating, obstinate, and raw moments alongside approximating, tender, and tentative ones. Indeed, Holme’s work engages subjectively with history. Its aesthetic re-settings and compositions create experiential, alternative narratives, leading to a change in the way we actually see things.
Text: Gloria Aino Grzywatz; englische Übersetzung: Amy Patton
The painterly, sculptural works and installations of artist Myriam Holme are characterized by an inherent tension found even in the experimental process of their development. Her heterogeneous oeuvre vigorously renegotiates artistic questions, consistently and generously expanding the space of the canvas to create its own, highly complex aesthetic. Holme’s practice is marked by a focused, incredible urge to create; what’s more, the resulting, extremely diverse use of disparate materials of varying value attributions creates scope for critical reflections on material cultures. We also see this in her concept for Einraumhaus (One-Room House), a project the artist developed with Philipp Morlock. As a walk-in artwork, it is inherently rooted in the principle of exchange and encounter, and in that sense can also be understood as a social sculpture.
Various found objects and materials including shimmering aluminum, bent copper, and metal plates collide in horizontgefahr (horizontal danger, 2019), mingling so as to fully and equally bring each of the materials’ respective powers to bear. Replete with moments of encounter and repulsion, opposition and superimposition, Holme’s oeuvre is one of remarkable depth. It finds concentrated expression in the contradiction and multidimensionality of her pieces, which hover at the limits of material control.
Fragility and robustness, grace and sensitivity, lightness and strength combine in works such as identation 6 (2021) to create an energetically charged union, releasing a nuanced and multifaceted idiom that suspends pulsating, obstinate, and raw moments alongside approximating, tender, and tentative ones. Indeed, Holme’s work engages subjectively with history. Its aesthetic re-settings and compositions create experiential, alternative narratives, leading to a change in the way we actually see things.
Text: Gloria Aino Grzywatz; englische Übersetzung: Amy Patton