In both her drawn and sculptural work, she is concerned with making space visible and tangible. Making the invisible visible.
On the occasion of an exhibition in the Morsbroich Museum, Miroslaw Balka (Polish sculptor) noted: “I was interested in the forms which accompany the body and the traces which the body leaves behind. The reading of the traces always simultaneously refers to absence, to that which is no more or is no longer existent - in other words, to emptiness."
The reference point for many of Ev Pommer’s works is the body or the physicality of human existence. She tackles this in an abstracted manner. The objects appear as a concentrate of experiences and memories and it is not uncommom that they also require of the viewers themselves a mental reconstruction of a sensual experience. The artist says: as a sculptor, you describe mental states with physical media, that is, working with visual media to concern relate to the invisible.
A concentrate; that also describes the drawings of Ev Pommer, because they are not typical concept sketches or preliminary studies for a sculptural work. Her drawings complement, extend and complete her endeavours as works in their own right. This most certainly lies in her own peculiar way of working; she either builds objects or she draws, and that over respectively long periods of time - without exception. In doing this, just as with her objects, Ev Pommer uses a very much reduced palette, which leads to further concentration.
We can divide her drawings into two cycles of work; the print drawings and the ink drawings. In her print works, Ev Pommer somehow also works “sculpturally”. She makes additions, repeatedly overprints, and draws in, and in this way every sheet becomes original. This fascinates her about printing, the handcraft of it, the sounding out of the possible stratifications.
In the ink drawings, we feel the high concentration of the work - sheet for sheet, the intensity of the time in which she adds line for line and takes them away again by painting over with white. It is always in space and in its representation that she is interested. Ev Pommer uses the translucent property of the fine papers with her inks by the superimposition of two papers or by the processing the front and back sides.
Most recently, she executes the prints and inks together, overlayed, layered or combined with printed coloured surfaces coordinated with subtle nuances. The result are drawings, very personal, even more immediate than her objects, since they are more direct and are not correctable. And in the fine, seemingly organic line-landscapes, the accented surfaces seem to float. Ev Pommer thus creates her very own visual language. Reduced, concentrated and powerful.
White Pose, 2001
Gipsum, Textile, Metal
95 x 78 x 19 cm
Ev Pommer – invisible
Drawings & Objects
Thursday, Januar 25th, 2017, 7 pm to 11 pm
Introductions: 7:30 pm and 9 pm
from January 26th to March 10th, 2018
und Gespräch mit Ev Pommer
Die Kunsthistorikerin Andrea-Katharina Schraepler, via artis berlin, im Gespräch mit Ev Pommer und den Gästen über das Unsichtbare im Sichtbaren.
Am Samstag, 10. März 2018, 17.00 Uhr,