... and all longing is in the end geometric
Since the 80s I have been working on drawings and sculptures that have a clear, reduced appearance yet have little to do with minimalist positions. On the contrary, they pursue the idea of a poetically organised space and subjective conceptualism. In this way, the works on the whole use their directness as a form of argumentation, and paradoxically it is precisely this decision not to use external references and sources which in the first instance makes the works so inaccessible, unfamiliar and also secretive. I perceive my works as facts of the case, which soberly deal with their physical presence and thereby the presence of the viewer.
In the latest works it is above all about contradictions, which are staged and played off against one another, counteracting strengths that within the spatial ensemble criss-cross through the empty room. Just as movement and deliberation come together in the drawings, the viewer experiences this work by looking at it, and is only able to comprehend it by retracing the constructions. It is the viewer’s gaze that the work captures within its scope. Because “the desire” – as it is called in one of the works – “ is merely a bearing, like the gaze, and all longing is in the end geometric.” MB 2012
Brandmeier is a sculptor who sometimes makes still photographs and videos. Because she is trained to privilege a a consideration of how three-dimensional objects are perceived in space, in her photographie works the flatness of the picture surface and the four corners of the frame (or screen) are not treated as benign preconditions. Instead, she uses flatness and framing - conventions that are so fundamental to photography that notice them any more - as her conceptuai starting point by not...