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Jeanne Masel
Swantje Hielscher – A new world
While the location of James Fuentes Gallery is somewhat off the beaten
path, it is definitely worth the trip. In her first solo show in the US,
Swantje Hielscher’s work will captivate both the novice and advanced
collector. In this intelligent conceptual show entitled “A new world“,
Hielscher exhibits an essential trait of any great artist. She shows
command of art history and adds her own unique voice. The exhibit is then
enhanced by James Fuentes’ exceptional curatorial skills.
“Sculpture (40°42’43.68“N 73°59’57.02“W)“, 2009, can be seen when
approaching the gallery from the street. A ladder intertwined with a
telescope, its placement in the front window beckons one to enter. This
conceptual piece presents an irresistible invitation to contemplate the
existence of space, and the human ability to traverse it. What are our
physical abilities and what is attainable through sight?
The show consists of eight conceptual works of art including mirrored
palettes & cut up canvases. The most intriguing piece is “Sphere“, 2009, a
series of graphite concentric circles drawn directly on the surface of a
white wall. At first glance one may think the artist is merely discarding
the limitations of the canvas (perhaps rooted in the Sol Lewitt tradition of
conceptual wall drawings). However, this piece is much more than a simple
homage to Lewitt.
“Sphere“ is an edition of 2 with one artist proof. Upon purchase the
artist will come to the collector’s home to render the piece herself.
Hielscher, a former dancer, is creating an orbit of her unique world in
“Sphere“. The series of concentric circles leaves a trace of the artist’s
movement. Hielscher’s inimitable circles can only be produced by her own
unique mark recalling Cy Twombly’s “Olympia“, 1957. If the collector chooses
to sell “Sphere“ in the future, only the artist can recreate the work for a
secondary buyer, unlike a Sol LeWitt. “Sphere“ seems to ask “How will you
make your own unique mark during your time here“?
The meaning of “Sphere“ further evolved when I walked around to the
backside of the wall on which it was depicted. Here I saw “Palette“, 2009,
which consists of a row of erasers collected from around the world. Each
stands vertically on a horizontal plank of wood creating a linear rainbow
and myriad of shapes. The erasers are turned backwards so the viewer cannot
see the labels thus referencing humanity as a whole. We all come in
different colors and shapes. James Fuentes’ choice to place “Palette“ on the
backside of “Sphere“ addresses issues of our shared mortality as well as one’s
unique identity. The front of the wall is Hielscher’s essence depicted in
graphite, while the back of the wall responds with erasers, that which
contains the power to remove the graphite trace. The dialog created by
their relative placement strengthens each work of art making this show
phenomenal.
The James Fuentes exhibition proves Hielscher’s body of work is
evolving. She has shown more primitive versions of some pieces including
the mirrored palettes and cut up canvases. Most likely Hielscher is on her
way to even greater accomplishments. By showing command of art history and
expanding on it, Hielscher creates her own valid place within contemporary
art. You have to experience it. The only problem is, how can you buy just
one?
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