the girls next door: curated by nadia bijl
In the creation of her works, Frijters starts from the sculptural character of mundane objects, materials and patterns which she discovers in public spaces, indoor or in nature. Varying shapes are associatively combined and manipulated. Frijters dissociates objects from their function, context and surroundings, deforms them by altering scale, structure and colour. From this, sculptures emerge that become hard to read directly, sculptures that are at the same time abstract and figurative, alienating and recognisable. In her latest sculpture Adhenis (2018) Frijters experiments with the way a sculpture ‘infiltrates’ someone’s personal space and vice versa: how close does the spectator dare to come? She employs a visual attraction mechanism akin to that of flowers to lure insect into their calyx. This element is combined with shapes were we can put our head in, like that of motorcycle helmets or drying hoods, involving a certain feeling of surrender.
Sigurðardóttir creates playful figurative drawings and sculptures where humor plays a crucial role and a tension is created between an imagery of delicate lightness and a rough execution.The sculptures and drawings can be based either on a word-play, like a rebus or on personal memories, dreams or made up scenes which are combined in her drawings. The drawings spring to life freely, spontaneously and without restrictions. They are autonomous works but sometimes the artist distilled certain elements from a drawing which she translates into a 3D work.
The sculpture Mystery for example contains a motive which is taken from the Hiding: Curtain drawing. In this drawing a character hides behind a curtain, leaving only the feet visible. The sculpture is made out of a clear resin, making the character literally disappear. At the same time the doing behind the curtain is made impossible by the the inherent translucency of the material itself. Hiding and covering are also a recurrent theme in the concrete sculpture Hiding: Staircase.
In her paintings and drawings Charline Tyberghein uses her own language consisting of symbols pictograms that float, as it were, in the imaginary space of the two-dimensional surface of her paintings. The painting Diff’rent Strokes combines many of her made-up pictograms or hieroglyphs. This small shapes are combined in such a way that they tell a story or form someone’s portrait. some of them are very clearly defined, others take on a different meaning when combined with other symbols. Another distinctive feature in her work is the use of repetition of certain elements like bricks, waterdrops and legs wearing shoes. This mantra-esque repetition has a comforting effect, the repetition of mundane objects generates the familiar. Sometimes a sombre tone is hiding behind what, at first sight, look like funny and light scenes, fooling the spectator. Tyberghein also likes to use troupe l’oeil techniques while at the same time staying aware of the flatness of the canvas/panel. This way the spectator gets drawn into the artist’s unique surreal world.