Heidi Linck, Eric Winarto


24 June – 29 July 2012

In her drawings, Heidi Linck (1978) researches spaces that have fallen into disuse or were abandoned. She uses an ever-expanding archive of photos and notes, made in the places she visited herself, as the basis for these drawings. She draws the interiors in black ink, so that at first only the contours of the space and the light rectangles of the windows are visible. Upon closer inspection, the space opens up – as if your eyes have adjusted to the dark – and the contours of forms and objects become distinguishable. By reducing the image in this way, the spaces get an abstract and autonomous quality as if they are leading a life of their own. In the exhibition Heidi Linck shows several drawings of rooms in a dusty army museum in Brussels, with regimental colors, costumes and weaponry that slowly emerge from the cloak of darkness.

Conversely, light is the crucial factor in Eric Winarto’s (Geneva, 1980) work. He draws forests and landscapes in delicate lines against a vivid background with the contours of the trees sharply contrasting the backlighting. The geometrical arrangement of the trees and branches is striking, sometimes resembling the structure of ice crystals, which further intensifies the contrast between light and dark. Because of the elegance of the lines that evoke panoramic vistas, the landscapes also have an unmistakable Asian feel to them. Often, the image contains some kind of violent movement too, as if a tempestuous wind is stirring the trees. To Winarto this movement is also a metaphor for man’s conflicting emotions and passions.