BATH OF THOUGHTS

"...The metal shelving structure, the backbone of the gallery, is shaken by the footsteps of visitors, which are reflected in the movements of the water surface. The emerging structures and images are one endless cycle, which is enhanced by illusory photograms reflected on the surface, shadow images that where created without the use of a camera. "..."
The artist's site-specific thinking, is based on a deep interest in space under investigation and its laws "..." This passion is embodied in the exhibtion by the work "Transverse Orientation". An infinite metallic horizon that levitates above the level of space. "..."
I'll take just a few words from Carl Andre's Essay on Sculpture 1964. ARC, AISLE, BRIDGE, CHAIR, HEIGHT. "..."
But Céline Struger goes even further, relating from a scientific perspective to the spatial orientation of nightmares. Have you ever wondered why they always point to a source of light?"

Anna König Vlk


”"Transverse Orientation" is an instinct that focuses on the moon as the primary reference for navigation. It is encoded in some insects, mostly moths, whose senses have not adapted to today’s urban landscapes, flooded with artificial light. Therefore their paths spiral in a kind of vertigo until evolution might eventually liberate future generations from their fate.

The sculpture draws formal references from Brancusi’s Endless Column, which reaches toward the sun. In contrast, this piece explores horizontality through water levels. Over time of the exhibition, the steel slowly oxidizes in shallow water, marking its own gradual transformation.
”The sculpture Horror Vacui (2019) is loosely inspired by his drawing Tabor-Cin (1956), in which long black rectangles of varying sizes appear to narrow as they recede toward a vanishing point. As someone with stereo blindness—unable to perceive depth—I was immediately drawn to its spatial ambiguity, architectural precision, and modular, modernist forms. The drawing functions as a visual paradox: both “something”—black stripes—and “nothing”—the gaps between. Over time, I began to see the black fields as deep shafts, imagining them filled to the brim with liquid.”

Céline Struger