Natalia Stachon

Rooms - Stages - Cracks

Natalia Stachon's works cannot and will not deny their affinity to early modernism or minimal art, as they also deal with the sculptural unfolding of space as a sensation, as an intermediate space and atmospheric volume. These sculptural spatial images by the artist, who was born in 1976 in Katowice, Poland, and now lives in Berlin, are immediately understandable if one imagines a tactile, geometrically constructed sculptural volume that is fused into the density of a medium without materiality by its opposite, the unbounded luminosity, i.e. the immaterial light, as the editor Renate Wiehager writes. Accordingly, Natalia Stachon's work is based on a precise analysis of the spatial constructions and sculptural minimalisations of the abstract avant-gardes, from the visionary spatial concepts of the Russian and Polish avant-gardes of the 1920s to Concrete Art and Minimal Art. However, she has transformed the sculptural and work-like settings of her predecessors into open spatial constellations with architectural dimensions. Transparent materials that guide the line of sight, as well as three-dimensional bodies - all of this allows her to create intellectual, ephemeral volumes in a combination of language, drawing and sculpture. Walter Benjamin coined the term "dialectical image" for such a transformation, in which the past is interwoven with the present. Extreme transparency as a design feature also appealed to Natalia Stachon in this book. She has opted to use thin paper in the picture section, which enables the interpenetration of images and thoughts by Robert Morris, Carl Andre, Gordon Matta-Clark, Adam Caruso, John Hejduck, Robert Graves, Maurice Blanchot and Nickel van Duijvenboden that correspond to her works.