Elize Vossgatter: Carving through the chaos
March 7, 2021 - Monique du Plessis | PILOTENKUECHE
Vossgatter’s harmony through mark-making
Vossgatter’s visceral marks spur from the ridiculousness of humans within the world’s now monodiverse ecosystem; one which we have continuously wallowed in. In an attempt to subvert this, every mark the artist makes becomes a practice in intuition. Each exertion of energy within the mark-making is grounded in what has come before. This exercise in the trust is ultimately a testimony to her progression of becoming more in harmony with herself as well as her surroundings. In this way, every painting becomes synchronous by hidden default.
y fully trusting her life’s work of expanding her intuition through research, Vosgatter is free to nosedive into the creation of her paintings. It is this informed falling which allows her to swiftly shift through time and positionality. She can at once take the position of the tree across the road without it being disingenuous. This is the product of her stringent methodology of finding common ground with what, historically, we have deemed unfathomable to stand next to.
For every push, there is a pull. Vossgatter’s work seesaws between dualities of synthetic/organic, human/nonhuman, large/small, and permanent/impermanent. Situated between each of these polarities, the seeming chaos never appears chaotic. This forms part of Vossgatter’s continual and expanding imperative of finding balance with nature within the increasingly reluctant human condition.
Methodology of impermanence
By using beeswax as a primary medium, Vossgatter’s methodology again touches upon aspects of time and impermanence. Every delicate scratch, indentation, and trace can be melted away, never to be found again. Through the oscillation of becoming and unbecoming, the DNA of each painting is linked to one another. Every fragment scratched away will find its way into the next one, expanding the genealogy in each cycle.
The fabric of language also plays an inherent role in Vossgatter’s paintings. Regardless of the process, ultimately, all the paintings understand each other. Applying this concept to the human condition in relation to the natural world may be easier than one thinks. Perhaps, all there’s left to do is to look at the tree standing across the road.
Written by Monique du Plessis
LINK TO FULL ARTICLE: http://westside.pilotenkueche.net/?p=24043
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