JORINDE VOIGT - Pacientia-Studie 5, 2020

JORINDE VOIGT - Pacientia-Studie 5, 2020

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Work details

Indian ink, gold leaf, pastel, oil crayon, graphite on paper, framed
77 x 55.8 cm


Jorinde Voigt’s drawings develop rigorous, idiosyncratic systems to depict how
one’s inner world—such as personal experience, emotion, and memory—intersects
with external conditions. The artist’s ongoing Immersive/Integral series
articulates an ever-expanding lexicon of forms: scribbled notations, swiftly
looping lines, jagged eruptions of gold leaf, and rhythmic vertical strokes. A
recurring motif in the series is the torus, a donut shape that lacks a clear
boundary between inside and outside. For the French psychoanalyst Jacques Lacan,
the topology of this form exemplified how the unconscious is not merely an
interior psychic system, but intersubjective by nature.
The torus has become a central perceptual model explored in Voigt’s artistic
practice and visually unfolds the artist’s conviction that we as humans are
“always in context and in contact” with the world surrounding us. The formal
language that Voigt develops, as well as her approach to materials and process,
resists false binaries like the self and the other or notions of interiority
and exteriority in favor of poly-temporal and entangled spaces. The torus tends
to be the first form that Voigt commits to paper, executed in a broad sweeping
stroke that often radiates from the center of the paper as if charting out a
space of possibility or a sphere of action. Although intuitive and expressive,
Voigt’s mark-making evolves from a nonetheless rigorous meditative and
observational process. She begins by submerging large sheets of paper in pigment
to imbue them with a specific mood or attitude. In The Match, an amorphous,
organ-like form occupies the center of the composition. Large swathes of gold
leaf beam from this central shape like a placid, luminous sea. The work depicts
two parallel, yet inter-related series of movements: that of the artist’s body
and the singular velocity of the materials themselves.

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