My objects embrace the void, it is an interplay of space, material and void. This creates lightness, and of course, emptiness offers space.
In her captivating sculptures, Angela Glajcar explores the experience of space. By delving into the mutability of the three-dimensional she strives to direct the gaze and to achieve clarity and calm in an over-saturated world. Her minimal paper sculptures are ripped, layered and torn to establish a dialogue between space and material and to encourage the viewer to embrace the void that is revealed. Her works emanate a certain lightness and leave space for the audience to project their own thoughts and imagination.
Many of Glajcar's artworks take on the shape of big site-specific installations, where they come to define the space that surrounds them, while her stand-alone sculptures form unique objects that can be placed in any context. No matter the size, her pieces inevitably draw the viewer in and provide space for reflection.
We interviewed the artist to learn more about her unique technique and her artistic process.
INTERVIEW WITH THE ARTIST
Q. Most of your works are created with paper, stretching it beyond its usual capabilities - how did this become your material and medium of choice?
A. At the very beginning, I worked with heavy materials
like steel and wood. Paper was just a material to make two-dimensional drafts. When I started to
make these drafts larger and larger it was a great surprise to see the
sculptural effect, that was the beginning of my first paper series CONTRAIUS.
Q. Is the absence of color an essential component in your pieces?
A. I never had the feeling that my work was colorless. But our world is already so colorful, so it seemed more logical to me to use this colorfulness. To include it in my work.
White paper reflects light and the colors of the environment perfectly, it is creating a dialogue between the artwork and its surroundings.
Q. Many of your artworks engage in a dialogue with their environment, they seem to re-shape the space that surrounds them - are they usually created with a specific space in mind or is the effect dynamic and dependent on the environment they are placed in?
A. The monumental pieces are site-specific installations,
paper allows me to work on-site and include all aspects. The dimensions of the
space, the light, the technical possibilities, etc. A mutual relation between
us as the viewers and the space can grow, my impression is that this touches us
Q. You have labeled your technique ‘Terforation’ could you elaborate on the meaning of this term?
A. „Terforation“ is a term I established by myself. It partly stems from perforation (from the Latin for hole, foramen), that is, the perforation of hollow or flat objects. It also refers to terra, the Latin word for earth. It alludes to the term terra incognita (unknown land; figurative: new land) to indicate that my work is about exploring unknown regions. For terra incognita hints at a vague idea, the supposition of knowledge as yet not clearly definable. The object refusing to be defined more clearly is the shape, the space created by the horizontal layering of sheets of paper with holes in them. The goal is to draw the viewer’s attention to this interstice, this void. It is never possible to look straight through the works, because the holes are positioned so that the hollow stretches into the unknown.
I really love using material in a very pure way. I love to work without too much equipment and paper offered me to work with my hands only. Tearing means to open up the material you can look inside and feel the structure – you can see the fibers of it. Layering and subtraction is the way to reveal the hidden layer by layer.
A closer look at the Terforation technique:
Q. Light and
shadow seem to be an intrinsic part of your work, is this something you aim to control during the process of creation? And do these
elements hold specific meaning to you?
A. Light can change everything, our
mood and also the atmosphere. So light is a very important part of our daily
life and we always react to it. Before developing a monumental piece it is very
good to know more about the possibilities... windows, spotlights... then I can
take that into account and integrate the light that is given. In a more abstract approach to my work, you might say that
my work reflects the conditions of human life: There is no light without shadow. I
love to see the whole picture.
Q. Your works often seem to have an organic quality, reminiscent of natural elements, is this an intentional association?
A. For me, it is very interesting what people see when looking at my work. It also depends on the surrounding space, things are recognized differently in a church than in a company building or a museum. I prefer to look at things again and again - with fresh eyes - without a fixed motive.
Q. ‘Emptiness’ in the form of a lack or a void, seems to be an integral part of your compositions; do you see this empty space as an equal and fixed component in your sculptures or rather as a fluid and independent element that your pieces interact with?
A. My objects embrace the void, it is an interplay of space, material and void. This creates lightness, and of course, emptiness offers space. This is also an offer to the viewer, look and perceive the light, the space, and the emptiness - and fill them with your thoughts.
See the creation of one of her site-specific installations:
Q. What does it mean to you when your artworks come to be part of and to define big public spaces?
A. My work is my language. And I love to communicate. This is why I love the challenge and the opportunity to reach many people with my large-scale spaces. Many public spaces appear to me a little dry and cold. My works try to offer a moment of silence, warmth and self-reflection.
Q. Could one say that your process, in part, consists of shaping air by defining its surroundings?
A. Yes, I like this idea. And quite often I work with hidden spaces that were not used yet. So it is a way to celebrate these hidden spaces and make them talk.
Q. There seems to be a sense of rhythm and motion in your pieces, how do you determine these aspects? Do these derive from a specific source of inspiration?
A. Rhythm and motion have to do with us,
our bodies move all the time and for me, it is a source of life. Motion is a
kind of requirement to develop and grow, so rhythm is a very important part of
my compositions. It is exciting to see the possibilities of different effects.
Q. What would you still like to achieve as an artist?
A. Keeping that rhythm of work in silence in my studios and traveling around installing meeting people and see how people are affected by my work.
Artwork on display in Museum Wiesbaden