Lines are leaving their one-dimensionality. You overcome the flatness of the sheet and contact the three-dimensional space when you are watching the drawings of Caroline Kryzecki. The lines first flicker in your eyes before you are looking in a spatial kind of depth. This Moiré-effect first seems to be random but it is actually the result of a very fine mathematical planning. Two identical or similar grid structures overlap slightly offset.
Caroline Kryzecki is working with ballpoint pens. The series “KSZ 100/70” consists of 30 high-scale ballpoint pen drawings to the size of 100 x 70 cm.The number is obtained by the three times applied ten possibilities to combine the usual four Pen colors black, blue, red and green in two-color combinations. The small scaled pictures ar varified by changing the space between the lines. Different grids are the result of a mathematical planning of each picture. The application of a certain mathematical equation is giving the form. The dimensions of 200 x 140 cm work “KSZ 200 / 140-01” caused by proportional enlargement of the format 100 x 70 cm. In “KSZ 200 / 152-01” the blue–red line arrangements are applied at an angle and reach toward the center by the decreasing screening a large depth.
The drawings are following geometrical structures. The artist’s production circle was triggered by the study of patterns ornaments and forms in daily life. Close-ups of facades, gratings, supermarket shelves, or reciprocally stacked sunbeds are items of the Photoarchive of Caroline Kryzecki. The orderly, repetitive forms, reveal the regularity in a chaotic system. By the photographic recording the artist dissociates the object represented by its environment and creates an abstract image of reality. Through the artistic transfer of captured items in the photographs Caroline Kryzecki is abstracting reality one more time and reduces their objectivity. The technique is based on the construction of a geometric reality triggered by an object.
The artistic magic of the pictures is deepened by the imperfection of the manual working process compared to a perfect grid created by a computer. Caroline Kryzecki is drawing the structures manually. Small mistakes are forcing the artist to make new decisions to “save” the physical reality of the picture. That is the amount of chaos immanent in all structures of live. The paintings include a fine abstraction of a principle of existence and are building pieces of high quality in the field of the art of abstract painting. (Parts of the Text are adapted from the curatorial Text of Tina Sauerländer written for the exhibition “Chaos around Superposition. Die Moiré-Zeichnungen von Caroline Kryzecki”, Solo-exhibition at Sexauer Gallery Berlin, 09.12.2014-28.02.2015)
Caroline Kryzecki was artist in residency in Istanbul financed by the Senate of Berlin in 2013. Her Moiré Drawings were exhibited in several shows. Her next participation in a group exhibition: 3 Juli – 1 August 2015, “My Lonely Days Are Gone Part 2, Arratia Beer, Berlin