Valerie Krause (Herdecke, Germany, 1976) works with the relationships established between sculpture and spectator within the context of an exhibition. Her first individual show in Spain, shifting volume, focuses on changes of dimensions, position and the places which the volumes of her sculptures generate. The apparent minimalist presence very soon becomes an emotional dimension, an unstable balance between the material and the possible or rather between what we see and what we are able to perceive. Her work emphasises volumes and the dynamism which solid bodies hold.
Valerie Krause’s sculptures and photographs revolve around spacial formulas which create a light but at the same time forceful atmosphere. Her works interact both in urban spaces as well as with forms close to nature without being able to reduce them within the stagnant course of a cultural/naturalistic dichotomy. For her exhibition at L 21 gallery in Madrid, Krause presents three new sculptures selected specifically for this occasion.
The first sculpture hangs in the small window facing the street in the space known as THE WINDOW. Once inside the gallery, the spectator finds two works, opposed although complementary modifying the structure of the space.
Her sculptures always adopt displaced forms which require a floating attention from the spectators in order to stop and enjoy themselves with this carefully organized swing.
The play of light and dark which Krause translates into three dimensions questions that malicious phrase that Dalí pronounced regarding Calder’s mobiles: “The least one can expect of a sculpture is that it doesn’t move”.
The artist’s Works are concentrated and intense elements. They are organic sculptures organized through a slow process of cleansing which don’t completely evade all those structures which have begun the creative process. Continuous movements which reach their balance between the accents and the pauses like a long rehearsed dance, these sculptures draw up an abstract geometry in order to rethink the space in which the spectator is invited to wander around.
These are works which strongly reject a finish which crystallises them into a definite shape. The works in this exhibition remain silent within an open space which refuse any reference to the world that surrounds us so as to open up into another where we can let our imagination stroll. Its structural clarity remains in an area of complex tension which cannot be reduced nor afinalpointbefoundbecauseitisnotpossible to define an emotion – we can only empathize with a certain feeling. And that is by no means little.