Bono in Lago, Italy, 2014 © Cornelia Hediger
Courtesy Klompching Gallery, New York
Bathtub, 2015 © Cornelia Hediger
Courtesy Klompching Gallery, New York
In Memory of Chancie, 2016 © Cornelia Hediger
Courtesy Klompching Gallery, New York
Lily’s Dream of Fish, 2016 © Cornelia Hediger
Courtesy Klompching Gallery, New York
Cornelia Hediger: Puppenhaus
Puppenhaus series, by Cornelia Hediger forms the artist’s third exhibition with Klompching Gallery and showcases the artist’s handmade photo-collages. Made between 2014–2016, the series is inspired by the likes of Hannah Höch, John Heartfield and Grete Stern among others. The photographs are constructed out of a combination of pigment and gelatin silver prints, with imagery originating from various sources including the artist’s studio practice, and scans of wallpaper, paint and cardboard. These are combined with recent photographs of travels in Europe, the patriarchal home in Switzerland and other family artifacts.
The hand of the artist is up front and center across the Puppenhaus series—pencil marks, irregular cuts left exposed, paint, hanging string, and individual elements attached in low relief, which together draw attention to the unusual focal planes, angles of view and shifts in scale. All of this combines perfectly with the seemingly whimsical narratives, that take the viewer on a journey through the artist’s fictionalized world. The use of self-portraiture prevails, linking this series back to the previous Doppelgänger work. We see ‘Cornelias’ having tea, balancing cups, acting out in odd domestic spaces and going on journeys. In one piece, reminiscent of the 19th Century Spencer y Cia Chilean Ladies, we see 100 heads—all of the artist—receding back into the distance. Hediger has created theatrical scenes, as if on a stage, images which are extraordinary and which pull you right into their three-dimensional space. (text via Klompching Gallery)
The hand of the artist is up front and center across the Puppenhaus series—pencil marks, irregular cuts left exposed, paint, hanging string, and individual elements attached in low relief, which together draw attention to the unusual focal planes, angles of view and shifts in scale. All of this combines perfectly with the seemingly whimsical narratives, that take the viewer on a journey through the artist’s fictionalized world. The use of self-portraiture prevails, linking this series back to the previous Doppelgänger work. We see ‘Cornelias’ having tea, balancing cups, acting out in odd domestic spaces and going on journeys. In one piece, reminiscent of the 19th Century Spencer y Cia Chilean Ladies, we see 100 heads—all of the artist—receding back into the distance. Hediger has created theatrical scenes, as if on a stage, images which are extraordinary and which pull you right into their three-dimensional space. (text via Klompching Gallery)
Klompching Gallery
89 Water Street, Brooklyn
89 Water Street, Brooklyn
through July 9, 2016
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