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In Pink Horizon we encounter a series of works whose visibility and invisibility make essential means of entanglement for the seer. The objects are subordinate to circumstances for “being seen” and the seer is affected by their conditions for the “act of seeing”. The overlap of the two shapes the reception of the surrounding by the seer and swings the seer as a pendulum between seeing and unseeing and this conveys types of correct, incorrect and relative seeings/unseeings. In this series of works, the artist renders the separate roles of the objects and the seer in terms of a relation between the landscape (with its all temporary qualities) and the corporeal body, and she creates a dialogical interaction between both which revives the unseen within an invisible horizon. Furthermore, Pink Horizon follows the artist’s concern for understanding the sculpture’s possible expansions in form. Under certain conditions, the works will challenge their formal borders and define them afresh. Kelly writes:

Pink Horizon develops ideas of the “body” and the “landscape” by considering the body in relation to phenomena of “place” and “temporal moments of shifting light.” Pink Horizon interweaves ideas of corporeal and geographical topographies to create a gap of possibility. Lacking a specific wave on the electromagnetic spectrum there is no visible light that looks pink. An invention of vision, pink light falls into the gap between red and purple. This gap contains all things in the universe invisible, including radio waves, microwaves, infrared gamma rays and X-rays. The presented works range across various levels of visibility, where some are visually abundant others need to be scrutinized to become present. Some works ‘scratch’ the eye, demanding the viewer to be attentive. Others ‘stroke’—resting on vision and bodies as they pass—revealing the fleshiness of seeing as an interactive meeting place within a nomadic terrain. Alongside philosophical poetics of the un/seen there is a formal investigation at play—What is the skin of sculpture, and how can sculpture disrupt its own form?”

Exhibition Solo show, Oberwelt – Stuttgart, DE (2018)
Material Sculpture, Installation, photography and collage
Photo credits Traci Kelly, Marco Teschke, Matthias Müller and Melanie Kirkham