In her latest works, Wanda Stolle shifts perceptions; she reallocates, dislocates, superimposes, transforms, producing an illusory, reflective play beneath the tangible surface. She creates poetic moments between strength and slackening, between heaviness and delicacy, between illusion and materiality – the spherical enclosed in a material presence.
Wanda Stolle’s drawings are cuts, slits in inked surfaces. A stroke here is a cut line, sliced into the paper. Each cut drives the drawing into spatiality, into three-dimensionality. The cut reveals the material, channels the flow of light, and directs perspectives.
The drawings accentuate, even celebrate their own vulnerability and fragility. The slits take them to the edge of destruction. Cuts and surfaces create a space – they assert themselves.
The wall objects are fields of influence created out of covered surfaces, cut lines and extracted fragments. Room and observer fall under this influence, the latter’s practised powers of perception being thrown into disarray. Where is surface and where perspectivity? Is the picture a wall or an illusory space set against a wall? This question is not clarified in reality but only in the viewer’s imagination.
Wanda Stolle’s latest work is a field of tension created by contrasting strengths. The work seems to press away from the wall like a curved sheet of paper, while also yielding to gravity. The apparent flexibility of the work is arrested by its material property. Once flexible wood, forced into a shape.
The front and reverse sides seem to be swapped around: the front, treated with graphite dust, meets the wall. It may be interpreted as the front side which eludes (full/frontal) view. At the same time, the graphite surface reflects the wall, thus revealing it as an essential requirement of a picture in itself.