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Sculptures: crystal and transcendency

is the mold of these carvings, the everlasting and unquenchable nature of which marble is part of. In nature one can observe similar processes, shapes and structures, that, reduced and transformed, mould these volumes into something both primeval and modern. The polished surface and its smooth dimples and mounds enables the interplay with light that makes all crystals gleam softly. When the surface is thus worked, simply and clearly, the true fabric of it becomes apparent, causing a strong tension. Small veins and streaks of color on it – the unbendable will of nature – becomes part of the creation, variegates it. The working of these carvings, the flowing play of light and shade that it calls forth, decently underlines their plasticity. In some spots the uniformity and tenseness of the surface is broken, given rhythm, stressed by perforations. Although the carvings are of great weight and bulk, they don't seem to lie ponderously on the ground, light as a feather, subject to every breeze, they touch it in only one slight point. The soft gleam of the crystals, the texture, the surface tension and the only slight connection to the ground give to these works of solid marble translucent and hovering qualities. In this way the everlasting nature of stone is being transformed, nearly transcended, by the act of creating; transformed into beauty that interacts with its surroundings and amazes sight and touch.

Text Beatrice Rolli Zinsstag, Translation: Silvio Zinsstag

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Drawings: cells and stars

Oval and round shapes are not only dominating the stonework but also the drawings. They are partly based on shapes very similar to the carvings, but these are being elaborated with charcoal or white oilpaint to create a blurred painting. The intense black of charcoal, strongly and impulsively applicated, contrasts the fine pencil drawn lines and both together generate a tense surface. The pencil dominates more and more the drawings and with its help, former basic shapes – the circle and the oval – are dissolved into minute networks of lines and circles. Even if delicate, the shapes have a stunning pregnance on the paper that has been treated with olive oil. All this calls forth a sparkling movement of fine and vibrating momentum that takes hold of all layers, even the discreet structures. The faint colorfulness of oil, the formal dissolution and the overlayering of fine patterns generate an interesting sense of room on the paper.
The process of dissolution is being consequently continuated and generates drawings with loosely organized cores that lead the glance from one event to the other. The minute shapes get independent, move in all directions until, frail and dreamingly, they have found their place on the paper as scattered and weightless elements. The eye is sauntering to and fro, and will often not be able to decide wether to move through those microscopic shapes or behold the drawings from a distance, as a set of fine lines. Something both cosmic and microscopic has been hatched: A magic world between cells and stars. In a playfull manner the drawn object has been transformed into independent events. The drawings are not anymore scetches for the sculptures to come but a playfully poetic work with the formal language that has been acquired by carving stone.

Text Beatrice Rolli Zinsstag, Translation Silvio Zinsstag