ABOUT MY WORK

At the beginning Elma Riza focused on photography, on capturing the moment, creating video work.(staging.)Then, in 2014, the research took a new direction towards the notion of space. A space that evokes and provokes different perceptions and conceptions of it, using an abstract, geometric and poetic language to play with the changes of perspective.

This research aims to make the invisible visible by redrawing the spaces of galleries or public spaces, evoking abstract and imaginary landscapes.

Some of these installations are developed “in situ”, using local architectural elements, which are then transformed or made visible by simple materials such as yarn, chalk, scotch or recently organic (do you mean ‚dead’? Besser einfach nur ‚organic‘) materials. The question of the visible and the invisible plays a central role in this work. It questions our cultural and our intuitive perception. The time given to observation invites the spectator to remain curious and in motion.

“The works of art and artistic positions exhibited here all take the principle of simplicity, self-reduction and self-limitation into account in one way or another. They challenge seeing, lead thoughts via memory bridges and associative paths to an expanded understanding of the purely formal, the material structure. The works play with the possibilities of our imagination. They offer the eye as well as the mind productive frictional surfaces, which lead to ever new perceptions of the works in space.” (Dr. Uwe Schramm, Kunsthaus Essen, 2017)

Between 2014 and 2016, a mainly performative work was developed, in which the body enters into dialogue with the spaces created or with compositions of objects. This practice of performance is nourished by (the) Instant Composition, which Elma Riza first experimented with as a performer and later moved into her work as a visual artist, creating, for example, live installations on the evening of a gallery opening, which would then remain for the duration of the exhibition. To deepen this atypical practice in the world of fine art, she set up a platform for exchange and experimentation, “Atelier LAB”, to which she invites other artists to share the experience of Instant Composition.

This approach calls into question the act of writing, a visual writing, which develops and finds its meaning in its interaction with the image before and the image after (as is seen in the movie?). The structure that emerges guides the reading, but leaves space for the unexpected. A space, where the creative process is intrinsic to experimentation.  It is not a question of creating a finished product but instead a question of a research that is shared, lived, finding its strength in its ephemeral character.

The visual language she develops sees the line as its main focal point, which is omnipresent in her research. This common thread emerged from the “Between the Lines” performances in 2014 and continues to this day. Her fascination with the line as a subject matter was inspired by anthropologist Tim Ingold‘s book “A Brief History of the Line“, which (has?) accompany(ied) many of her projects.

“Lines, I insisted, are phenomena in themselves. They are really there, in us and around us. Indeed there is no escaping them, for in any attempt to flee we only lay another one. (…) Why should theory and methaphor be thought to be the only alternatives for the lines? Why cannot the line be just as real as whatever passes along it, if indeed the two can be distinguished at all? And if the idea that lines can be real is alien our sensibilities, then what was it that tipped me into this strange world of entanglement? (“Lines_ A brief history” by Tim Ingold, Rutledge 2007)

Recently, in the face of climate change, the use of organic materials has become self-evident for Elma Riza. Taking this into account, her work is developed with the materials and their changing in time which in turn, creates a more intimate relationship with space.

To be continued….

 

Texte original:

Au départ, il y a eu la photographie, la capture de l’instant, la vidéo, la mise en scène. A partir de 2014 se développe une recherche sur la notion d‘espace. Un espace qui évoque et provoque nos différentes perceptions et conceptions de celui-ci, jouant sur les changements de perspectives et utilisant à ces fins un langage abstrait, géométrique et poétique.

Cette recherche aspire à rendre l’invisible visible en redessinant les espaces des galeries ou espaces publics, en évoquant des paysages abstraits et imaginaires.

Une partie de ces installations est développée “in situ“, utilisant des éléments architecturaux du lieu, qui sont ensuite transformés ou rendus visibles par des matériaux simples comme le fil, la craie, le scotch ou encore récemment des matériaux organiques. La question de la perception joue un rôle central dans ce travail, ce qui est visible, ce qui ne l’est pas, questionnant notre perception culturelle, notre perception intuitive. Le temps re-donné à l’observation, invite le spectateur à rester curieux et en mouvement.

“The works of art and artistic positions exhibited here all take the principle of simplicity, self-reduction and self-limitation into account in one way or another. They challenge seeing, lead thoughts via memory bridges and associative paths to an expanded understanding of the purely formal, the material structure. The works play with the possibilities of our imagination. They offer the eye as well as the mind productive frictional surfaces, which lead to ever new perceptions of the works in space.” (Dr. Uwe Schramm, Kunsthaus Essen, 2017)

De 2014 à 2016, se développe un travail principalement performatif, où le corps entre en dialogue avec les espaces créés ou avec des compositions d’objets. Cette pratique de la performance est nourrie par la Composition Instantanée (Instant composition), qu’Elma Riza expérimentera donc dans un premier temps en tant que performeuse, puis qu’elle déplacera dans son travail d’artiste plasticienne, réalisant, par exemple, des installations live, le soir du vernissage, qui resteront ensuite pour la durée de l‘exposition. Pour approfondir cette pratique atypique dans le monde des arts plastiques, elle met en place une plateforme d‘échange et d’expérimentation, „Atelier LAB“, où elle invite d‘autres artistes plasticiens à partager cette expérience de la composition instantanée.

Dans cette démarche il est aussi question d‘écriture, une écriture visuelle, qui comme dans le film, se développe et trouve son sens dans son interaction avec l’image d‘avant et l‘image d’après. La structure qui en émerge oriente la lecture, mais laisse l‘espace libre à l‘imprévu. Un espace, où le processus de création est intrinsèque à l’expérimentation.  Aussi il n’est pas question de créer un produit fini, à commercialiser, il est question d‘une recherche qui se partage, se vit et trouve sa force dans son caractère éphémère.

Le langage visuel qu‘elle construit a pour “fil rouge” : la ligne, toujours omniprésente dans sa recherche. De ce “fil rouge” émergeront des performances „Between the Lines“ en 2014. Aujourd‘hui encore, cet élément est toujours présent. Cette fascination pour la ligne, sera inspirée par un ouvrage de l’antropologue Tim Ingold „Une brève histoire de ligne, qui accompagnera nombreux de ses projets.

„Lines, I insisted, are phenomena in themselves. They are really there, in us and aoround us. Indeed there is no esca- ping them, for in any attempt to flee we only lay another one. (…) Why should theory and methaphor be thought to be the only alternatives for the lines? Why cannot the line be just as real as whatever passes along it, if indeed the two can be distinguished at all? And if the idea that lines can be real is alien our sensibilities, then what was it that tipped me into this strange world of entanglement?(…)“. („Lines_ A brief history“ by Tim Ingold, Rutledge 2007)

Dernièrement, sensible aux changements climatiques, l‘utilisation de matériaux organiques s’est présentée d’elle-même. De là, elle développe des travaux en échos avec les matières, leur changement dans le temps et un rapport peut-être plus intime à l’espace. A suivre…