Perfect
geometry and ornamental stylization demonstrates the polarity in Siri Berg’s
show at Konstn�rshuset in Stockholm. She presents an ample perspective of her
work, ranging from radical minimalist paintings dating back to the 70’s to
newer and more commingled works on Japanese paper and canvas – ranging from
collages, polychromes, monochromes, and assemblages. The biggest part of the
show consists of new works with a clear departure into the minimalist tradition
emphasizing geometric abstraction and aesthetic investigations. In some of her
recent series, Azure, Crimson lake and Mars fragment
style=’font-size:8.0pt;font-family:Verdana;color:black’> (2000-2003), she
challenges our perception of color schemes where in Microchip
style=’font-size:8.0pt;font-family:Verdana;color:black’> diagrams
style=’font-size:8.0pt;font-family:Verdana;color:black’> (1994), she designs
collages in mathematical patterns which comment on today’s technological
endeavors, bordering the path of design and fine art. Her new works are best
described as visual communicative signals. Her strength is her ability to
challenge, test and educate with form and color at the same time. She addresses
the spectator directly through image making. It comes therefore as no surprise
that the company KREAB, with which Siri Berg has collaborated since the late
70’s, is the main sponsor of the show. In the staircase, the Siri Berg
collection of KREAB – mostly older collages and color schemes – is on display.
In
the entrance hall and the main gallery space, the spectator is met by a wide
range of media including collage on Japanese paper, thick oil paintings with a
more varied group of geometrical patterns, polychromes, monochromes, and
architectural grids. In all the works, a simple and abstract trace is running
through like a decorative frieze with color and material experiments addressing
every corner of our senses. The polychromes and monochromes especially put
focus on our psychological experience of light. Siri Berg is devoted to the
transformation of material. Some parts are pastose while others are carved
patterns in the material, not only applied. Wet and dry paint is combined.
In
her experiments with colors and form, Siri Berg is also taking a departure from
everyday life. Like in the earlier assemblage Techno
style=’font-size:8.0pt;font-family:Verdana;color:black’> (1999), she creates a
pattern of extinct floppy discs in the distinct work BMW (black)
style=’font-size:8.0pt;font-family:Verdana;color:black’>, where most of the 35
disks are covered with four uncovered. The work comments on consumer culture
and is made of residues from the technological affluent aesthetics. This is
reminiscent of the older and very sophisticated work White holes
style=’font-size:8.0pt;font-family:Verdana;color:black’> (1980) – unfolding 20
parabolic reflectors – in terms of empty spaces and receiving information.
Similar concerns also appear in Mouseballs
style=’font-size:8.0pt;font-family:Verdana;color:black’>(1999).
BMW
(black)
is a very simple and lucid work that evokes the longing of simplicity in modern
life and the essential of pure form. The piece’s meditative approach lies in a
fascination of the everyday object, which are repeated in patterns and form
geometric ornaments. In the spectra between the White holes
style=’font-size:8.0pt;font-family:Verdana;color:black’>and BMW (black)
style=’font-size:8.0pt;font-family:Verdana;color:black’>, which contrast in
their place beside each other on the wall, the whole color scheme unfolds. Siri
Berg is creating a break from the everyday overestimation of mass culture.
In
the other small exhibitions space, Siri Berg has decided to present her oldest
works with the use of intimate geometry. White series
style=’font-size:8.0pt;font-family:Verdana;color:black’> (1976-77), Four
elements
(1978) and Empty spaces (1986-87) construct a calm and precise overall pattern in
the square white cube of the space. Hereby creating an endless and unavoidable
horizon for the spectator in the middle of a bigger abstract composition. The
space is composed as minimally as imaginable and the spectator becomes the
object. The well-composed help the older works to communicate with the new works
on an aesthetic level. The composition in White series
style=’font-size:8.0pt;font-family:Verdana;color:black’> is especially simple
and recalls Malevich’s 1918 masterpiece White on White
style=’font-size:8.0pt;font-family:Verdana;color:black’>.
Siri
Berg’s exhibition builds on sophisticated variations of the ground geometric
figures: the circle, the square and the triangle. The pure forms are repeated
in continually new forms, patterns, and compositions. She asks questions of the
reliability of our perception by taking us through a sensual flow where we
become participants in contrasting between the material and objects. She
creates abstract riddles with an emotional and rational fascination of
mathematics, technology and algebra. Siri Berg investigates how it is possible
to alter, twist, move our perception – and perhaps also our way of reflecting,
thinking, acting? Most of her works emphasis the aesthetic value, but some of
them stress more engaging and current topics. |
