kilimbim, 2008, permanentmarker on wall, carpet, 160 x 150 cm, kilimbim, Martina Detterer Gallery, Frankfurt, GER, photo: Axel Schneider, Frankfurt, GER
Bodenlos, 2009, permanentmarker on vinyl floor, hall of the Villa Wachholtz, Verführung & Ordnung, Gerisch-Stiftung, Neumünster, GER, photo: Marianne Obst
Glück, 2010, plastic cord on pins, 340 x 760 cm, Viel Glück und Erfolg, Städtische Galerie Nordhorn, GER, photo: Heike Weber
Glück, 2010, plastic cord on pins, 340 x 760 cm, Viel Glück und Erfolg, Städtische Galerie Nordhorn, GER, photo: Heike Weber
Glück, 2010, plastic cord on pins, 340 x 760 cm, Viel Glück und Erfolg, Städtische Galerie Nordhorn, GER, photo: Helmut Claus, Nordhorn, GER
http://www.heikeweber.net
OBJECTS
cows
1989, artificial fur on styrofoam
photo: Heike Weber
1962 born in Siegen, North-Rhine-Westphalia, Germany
1981-86 studies at the FH Aachen (graphic-design), GER
1993 artist in residence, Glasgow School of Art, GB
1994 lectureship in the Department of Environmental Art,
Glasgow School of Art, GB
2008 lecture for the academy of Fine Arts Stuttgart, GER
2008 winner of the public Art Competition for the entrancehall of the University Hospital of Düsseldorf (realisation spring 2011)
In her work Heike Weber tests drawing processes beyond the usual format, sounding the depths of their dynamic potential in different dimensions and media. She creates installation-interventions in the form of expansive murals and drawings on the floor, as well as interventions that take over spaces and surfaces, using diverse industrial prefabricated materials such as carpet pieces, clothesline, and pieces of mobile, textural silicon. They all have a kind of double reality in common, which is the result of the intense relationship between placement and limitation, or between the specific drawing and the optical illusion. This also makes them physically effective, since her works disturb and alter the usual parameters of spatial perception.
Weber has also employed this expanded principle of three-dimensional drawing in her video works, most of which are loops featuring sequences of everyday observations, whose circular motion seems to obey its own set of non-functional rules. In another sense, this is also true of her figural drawings, whose motifs translate states of floating and weightlessness.
Whether with pencil, thread, scalpel, or camera, whether as an ornamental pattern or as a projected figure: Weber’s works permit viewers to recognize a decided interest in the processes of exploration and transformation in drawing, specifically passing on to them a sense of their own motion and perspective. This creates open areas and situations that subjectively explore (both physically and mentally) the phenomena of time and motion in the construction of space.
http://www.drawingcenter.org/viewingprogram/share_portfolio.cfm?pf=1275
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