Mirjam Dorsch

craziness
That's what artists are said to be, and it affected me in a variety of ways and with the honored or criticized in different meanings. Crazy means not conforming to societal norms. And no! art doesn't do that. Art is change and art is resistance. It reflects an image of life that is just possible and takes the impossible with it. Engaging in painting as a sculptor was a personal, revolutionary act. Not because painting has been declared dead several times, but because, as undead, it is the most proclaimed version of art that would make you successful. Not that I didn't want that - but not at any cost, not because of the loss of the multidimensionality! The blank had to be filled. Then Corona came and now there were only eyes to see. Instead of getting over the covert too fret, it was like forced focus. Faces suddenly looked different. The smile was now quickly recognizable as real or fake due to the laughter lines on the eyes. Working with perception now has several meanings for me. How do we deal with viewing habits. What is recognizable as art and what attributes should there be fulfilled? The blank is crazy. In the literary sense. The idea of ​​dwelling on the shape of the eye - the pattern of perception has become the content of the picture. And then the pictures became political. They too were surrounded like you can walk around a sculpture. Just like we all always in one certain context can also show new facets, the different images also have one special relationship to their frames. These result in an experimental way from the development process and sometimes reach out to their neighbors. This creates a network among each other, a network that connects everything, with empty spaces (which can also be described as entrances) can be discovered.

I am an artist because art is everything, because art includes all aspects of life. One of the objectives of my work is to to participate in the environment and to subsequently change it by interaction. I offer situations and spatial interventions that might lead to responses and altered perceptions. A particular focus lies on the conflict between the original and the addendum, or the amalgamation of the preexisting with artistic interventions.

Can the tension between what has already been there and what was added lead to irritation and thus produce new meanings? And can the reworking of surfaces and narrations of preexisting spaces make this tension productive? My work tries to negotiate the possibility of free and open perception within confined spaces by intertwining the original state with its artistic paraphrase. 

My approach to spaces starts with a survey of standardized everyday objects (clothing, stage risers, building material, or the human body) that allow viewers personal access. In addition to the usual artistic techniques, such as stacking, welding and splitting, I hold processes of offering, revelation, and leaving impressions to be essential in making sense of the world. It is all about spaces in-between, hybrid spaces, and altered circumstances that are emphasized by the transformation of materials. 

The materialized form is intertwined with an interpretation that stays ambiguous and thus embodies a productive failure which leads to new forms of engagement.

thanks to Stefan Ewald (textextract from the late night interview) und Dennis Buchholz (english translation)