Schleifmühlgasse 18 - 1040 Vienna 
+43-699-19207778 -

20th November – 5th January 2014
Opening: Tuesday, 19th November 2013, 6 pm
Where: NEXT DOOR galerie michaela stock, Schleifmühlgasse 18, 1040 Vienna


Kate Terry
strives for perfection. Meticulously, delicately and with great restraint she skillfully alters gallery spaces and the way viewers experience them. Yet the completed work is, at first, almost invisible. She works hard to create an installation that reveals itself slowly – transforming imperceptibility into spectacle. With coloured thread, tautly pulled across the expanse of the gallery, Terry creates a subtle yet large presence: a whole form articulated through the most minimal means. This is her challenge. In her studio she makes a model; she draws; she imagines. In the gallery, Terry starts by hammering pins into the gallery walls. Here, her search for perfection begins. She is adamant that the pins are absolutely evenly spaced and treated identically. She ties a thread to each pin on one wall and stretches it towards its designated pin on the other side. She ties the end. The threads travel individually across, above and beneath each other.

Ironically, the purity Terry seeks to achieve through her method is inspired and guided by the impurities of the given space. The direction and the shape of the thread structure are dictated by what she calls "the errors in space." In past installations these have included a slight deviation in the height of two walls, or a bump in the floor, or a particular idiosyncrasy in the interior architecture. Each knot subtly defies uniformity as its individuality is revealed upon close examination. Hundreds of threads elegantly slice through the volume of the gallery.
(text exerpt, From the invisible to the Spectacular, Georgiana Uhlyarik, 2006, Inteference exhibition catalogue essay, Mercer Union)

Lukas Troberg's works ever so often remind me of markings. Be it that a specific place is spontaneously taken over or that there is a long-term and carefully planned exhibition of various objects – the sense of marking spaces is always palpable. By using a re-interpreted symbol in a consistently changing context, his work somehow seems to be open, it cannot be immediately captured. It is only after taking a closer look that the ever returning movements become visible.
On the one hand, the precise exploration of space, probably stemming from Troberg's long–time engagement in "re-shaping the public space", on the other hand the careful selection of the objects which, in the course of his work, are subject to some kind of dissolution, yet always hinting at a reminiscence of their former selves.

Reason is tempted to detect a certain kind of logic disguised behind the selection of objects the artist uses, but these are mere place holders for a certain position in society, more precisely a position right in the public. This innuendo of a relation with the present can best be felt where we would usually not expect it. The originally spontaneous marking becomes a process due to almost indefinite repetition, but in fact always remains attached to swiftly made markings.
(Marking a moment, by Markus Hofer, 2012)

Kate Terry
Lukas Troberg
press picture Kate Terry
press picture Lukas Troberg
press release

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