Now and not yet. Perhaps that is the sensation so carefully captured in Jorinde Fischer's works. The movement contained in stillness, a perpetual unraveling. A trompe-l’œil of sorts, the kind that plays with the perception of time. Just like watching a silky fabric slide off someone’s shoulder, forever.

Fischer’s sculptures evoke the memory of sensation. Her works carry you beyond themselves into the realm of tactile, sensual, private memory. It is more about how Fisher’s objects feel, not just how they look. Yet it is not a particular feeling she tries to evoke, it is unique and personal for each viewer. And still the delicate beauty of her work doesn’t get lost in its evocative nature.

The stark contrast of tension and softness, of fragility and strength in Fischer’s work holds exquisite power. Still it is not overwhelming. Rather precisely measured and refined, without excess or drama. Her sculptures excerpt themselves differently – the volume varies depending on colour, material and tension implied. Some hold more stillness, others can barely hold it together ready to burst at any moment.

Together, 2021 feels like an exhale, like the rubber band contracting after breaking, not able to withstand the force. RAL2002, 2020 is different, more like a long inhale. The soft concave of steel holds a promise to unfold at any moment, only to break it over and over again.

Text by Ksenia Jakobson

(For the exhibition SOFT POWER at SHABAM! Galerie Laetitia Gorsy)

Was von Jorinde Fischers Arbeiten abstrahlt ist ein schwer definierbares Schön, ein beglückend – bedrückendes Jaaa... Textilien, Industrieprodukte bilden den Ausgangspunkt von etwas, das man als Draperie bezeichnen könnte, wäre es nicht so offensichtlich entrückt von Figur, von Dekor. In synthetischer Eigenfarbigkeit präsentiert es sich, Stahl dient sichtbar oder unsichtbar als Aufhängung oder Gewicht, an Boden, Wand. Das Ergebnis oszilliert heftig, man will Wesen erkennen in diesen Hängungen, Zerrungen, Faltungen, kann es doch nicht, zu minimal ist der formende Eingriff, zu streng und klar seine Konzeption. Modell und Zeichnung bereiten den Wind für Stileis, Invisible Movement, Tension Orange, Titel wie Spaziergänge, barfuß auf Teppichboden...

What emanates from Jorinde Fischer’s work is an almost indefinable Nice, an exhilarating, oppressive Yeaah... Textiles, industrial products provide the starting point for something that could be referred to as drapery, if it weren’t so manifestly removed from shape, from décor. It presents itself in synthetically intrinsic coloration; steel serves, visibly or invisibly, as suspension or weight, on floors, walls. The results oscillate wildly, we want to detect an essence in these Hangings, Ruptures, Creases, and yet we cannot; too minimal the formative intervention, too rigorous and clear its conception. Models and sketches make ready the air for Stileis, Invisible Movement, Tension Orange, titles like wandering, barefoot across carpeted floors...

Text: Johannes Bierlein / engl. William Tayler