📃 Lena Knilli, 2010
Dowry. vĕno (2009/2010, 70cm x 100 cm and 100 cm x 140 cm) are works in mixed techniques – painting/acrylic paint on cardboard, and drawing/industrial painter, lacquer pen and water color on tracing and regular paper, all assembled and created as a collage. I am interested in the origin of individual development and its unfolding and all, which is considered ‘codes’ (organic, social, cultural), either given to us as precondition or something taken up along the way, and equally the preconditions, which we carry hidden in ourselves as secrets such as memories, talents, personal interests, points of contacts, illnesses, deviations. The flexible and partially layered collage technique of the conceptual drawings enhances processes of fragile content. The drawn collages are created in small series, i.e. groups of pictures.
The Time in Prague in general, the design of the clock-face is replicated from the way the sun moves along the northern hemisphere – looking to the South, it is coming up to the left (in the East), it is highest at noon, and it is setting to the right (in the West). This explains the order of the numbers i.e. that of the circles replacing the numbers of the clock-face and their hourly clockwise course as well as the 12th hour placed at the top. The circle provides expanse as well as protection. Cut apart from the outside to the inside, it holds concentration, enables finding the center. From the inside to the outside, it explores ever increasing expanses and at last, an image of the cosmos. The circle is comprised of preconditions and opportunities. It is seed, secret, lucky lot, failure, coat button, point of energy. The circle is the figure relating to the whole.
The Time in Prague is a group of works on paper, based upon a finding in a rubble container in Prague Žižkov in 1995. The faces of the public clocks had been replaced, the old ones discarded in the container. Each clock-face was made of a circle of white Plexiglas (diameter 61cm), 12 small, black circles and a black cross at the center. Some time ago, I began to ‘reconstruct’ the clock-faces from paper. Doing so, a series of faces emerged, with dimensions of the found clock-faces but with ‘time deferment’. The circles of the hours have been newly arranged and suggest another unexpected, uneven time sequence. A playful attempt to introduce my personal time in Prague (1992 – 2001) into my work.
Time Skirt by transferring the clock-faces onto soft material, the concept becomes three dimensional (somehow – a return to the space in which the concept clock-face originated). New deferments occur. Your hours revolve around you.
Dowry. vĕno (2009/2010, 70cm x 100 cm and 100 cm x 140 cm) are works in mixed techniques – painting/acrylic paint on cardboard, and drawing/industrial painter, lacquer pen and water color on tracing and regular paper, all assembled and created as a collage. I am interested in the origin of individual development and its unfolding and all, which is considered ‘codes’ (organic, social, cultural), either given to us as precondition or something taken up along the way, and equally the preconditions, which we carry hidden in ourselves as secrets such as memories, talents, personal interests, points of contacts, illnesses, deviations. The flexible and partially layered collage technique of the conceptual drawings enhances processes of fragile content. The drawn collages are created in small series, i.e. groups of pictures.
The Time in Prague in general, the design of the clock-face is replicated from the way the sun moves along the northern hemisphere – looking to the South, it is coming up to the left (in the East), it is highest at noon, and it is setting to the right (in the West). This explains the order of the numbers i.e. that of the circles replacing the numbers of the clock-face and their hourly clockwise course as well as the 12th hour placed at the top. The circle provides expanse as well as protection. Cut apart from the outside to the inside, it holds concentration, enables finding the center. From the inside to the outside, it explores ever increasing expanses and at last, an image of the cosmos. The circle is comprised of preconditions and opportunities. It is seed, secret, lucky lot, failure, coat button, point of energy. The circle is the figure relating to the whole.
The Time in Prague is a group of works on paper, based upon a finding in a rubble container in Prague Žižkov in 1995. The faces of the public clocks had been replaced, the old ones discarded in the container. Each clock-face was made of a circle of white Plexiglas (diameter 61cm), 12 small, black circles and a black cross at the center. Some time ago, I began to ‘reconstruct’ the clock-faces from paper. Doing so, a series of faces emerged, with dimensions of the found clock-faces but with ‘time deferment’. The circles of the hours have been newly arranged and suggest another unexpected, uneven time sequence. A playful attempt to introduce my personal time in Prague (1992 – 2001) into my work.
Time Skirt by transferring the clock-faces onto soft material, the concept becomes three dimensional (somehow – a return to the space in which the concept clock-face originated). New deferments occur. Your hours revolve around you.