Nulla Dies Sine Linea
For its inauguration, the galerie laurent mueller presents a dialogue between the artists Jeongmoon Choi and Laurence De Leersnyder.
Jeongmoon Choi explores perspective and its lines by working directly on the space of the gallery. With her wool thread installations, stretched geometrically between the walls. she redefines the perspectives and the limits of the exhibition space. Some threads, treated with fluorescent colorants allow for a play with the layout of the gallery through the use of altering UV and classical lighting. Inspired by the minimalist currents, Choi uses the simple material of woolen thread as main tool to recreate a floating architecture reminiscent of Op Art illusions. This kind of installation, where the visitor has to find his way through a dark and mysterious labyrinth also draws comparisons to a more popular estheticism such as 80's video games, the movie Tron or electrical music as produced by the Daft Punk.
Laurence De Leersnyder offers a counterpoint to this installation through a more sensual and raw approach. De Leersnyder has been concentrating her oeuvre around the idea of gesture and movement in the creative process. Each of her works is a trace, the trace of the impact between the hand of the artist and the material itself.
To play with the altering lights of Choi's installation, she shows a crumpled and folded tarpaulin canvas which she casts in resin in order to eternalise the movements of a now congealed object. Once the canvas is separated from the cast, the resin, fragile and transparent is presented on a rectangular frame in order to draw comparisons to a model, a landscape.
Moreover, Laurence De Leersnyder also worked on a project of accumulated objects in the spirit of Eva Hesse. These objects are the result of the research, accidents and experiments which define the daily studio practice of the artist. Loosely inspired by Gabriel Orozco's Working Tables, these objects are accumulated in between Jeongmoon Choi's installation on the gallery floor (Atelierboden - 2010). Finally, pieces from De Leersnyder's previous practice, such as the series of Blobs - 2010, objects made from polyurethane that emerge from their wooden crates, complete the exhibition.
Both artists work on a space, it being the landscape of the gallery but also the personal space and its resulting limits and movements. The visitor can loose himself in Jeongmoon Choi's installation and forget the exterior world while being encased in a fragile, ephemeral circuit - the artist wants to create illusions, labyrinths. Equally, Laurence De Leersnyder explores an inner landscape, a poem of gestures in accordance with the used materials, but also making us reflect about the simplicities of life and our distance from these simplicities due to the modern world.