Our first exhibition of 2014.
Mira Schendel at Tate Modern.
Her work was completely unknown to us. We found it incredibly rich and inspiring. So much creativity and originality.
We loved it.
Mira Schendel was an informal artist. She was more interested in the matter than the form. She used geometric forms but these are almost always irregular and imperfect in her works. She worked with delicate rice paper. Her work appears tantalisingly fragile. She was interested in transparency, languages and religion. She used a limited palette. And she gave her works, grouped in series, the coolest names.
Little Train. The rice paper ‘train’ and its shadow on the wall, offering a continuation of the work.
Graphic Objects. Letters, either drawn or transferred.
Still Waves of Probability. This very much reminded me of Rain Room. Thousands of threads hanging from the ceiling. Each thread so thin, but together creating a thick wall. By moving slightly to one side, you may or may not be able to glimpse through the threads. For Mira Schendel, this represented the relation between knowledge, faith and certainty.
Little Stubs. Letters detached from each others, no longer forming words, losing their defined meaning.
I really don’t know that I have done her justice, and so I urge you to read this review of the show.
Each work deserved our attention, down to her London journal, a visual representation of her time in the capital.
I found it all fun, approachable and stimulating. I have been feeling sparks of creativity ever since.