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Sabine Laidig
1960 born in Sindelfingen
lives and works in Berlin
MT 11_176, 2006
Ink on Japanese paper, collaged
Overall dimensions 1633 x 448 cm
individual squares 6 x 6 cm |
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Sabine Laidig is interested in the incidental, changing and fleeting things in life. Which is why she has selected the foyer of the museum for her temporary wall installation consisting of a pattern of squares in graduated colours. The artist particularly likes to work with the meander, an ornamental form that is regarded as a symbol of fluctuation, of constant motion and harmonious change. She deconstructs the ornament with a computer using simple mathematical principles, comitting sections and emphasizing others by the use of colour. The outcome is a system of coordinates made of single squares that are pieced back together according to the basic principles of symmetry and asymmetry. The artist describes the wall installation "MT 11_176", which she has devised specially for MUSEUM RITTER, as follows:
"M stands for ›meander‹ and T for ›Takt‹ [=count]; 11 is the count of the first and 176 of the second colour. The work is based on a band-like ornament consisting of meanders. Along the course of each separate meander, every 11th square has been picked out in pale yellowish-green. This results in a regular pattern, which demonstrates two motional directions of almost equal weight. The slightly more compelling line of motion travels from lower left to upper right and evinces a slight skip in the line every 5 squares. This more emphatic direction of motion is intersected by a steeper dynamic motion moving almost orthogonally to the first. The eye cannot clearly distinguish which of the two directions of motion dominates, such that it swings constantly to and fro between the two possible ways of seeing. The impossibility of unequivocally pinning down the pattern is produced by the minimal differences in the intervals between the squares, and further heightened by the skips in the lines. With this the impression arises of a vibrating field constantly in motion. Along the course of a second meander, a few red squares have been applied at a regular interval of 176 squares, which is a multiple of the count of 11. They move on the plane of the pale green field and stand only slightly to the fore. This looser distribution based on the same regular count reveals a regular structure with
minimal internal differences, which all in all present a gentle motion from the right to the left. The two moving patterns oscillate into one another on the same spatial plane and produce motion in a variety of directions and speeds at the points where they meet. In their overall sonority, the simultaneity of the divers potentials for motion are rendered visible."
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