Gabriele Walter

SPACE_bottomless

Space starts to move, it changes to a space of streams and needs to be rethought.

The actual works of Gabriele Walter are researching the invisible and untouchable information spaces of the World Wide Web, created of endless chains of 0 and 1.
What qualities of space have virtual, bottomless worlds that are directly detached from the sensory experience of the body and arise through...

SPACE_bottomless

Space starts to move, it changes to a space of streams and needs to be rethought.

The actual works of Gabriele Walter are researching the invisible and untouchable information spaces of the World Wide Web, created of endless chains of 0 and 1.
What qualities of space have virtual, bottomless worlds that are directly detached from the sensory experience of the body and arise through communication?
How does the relation to the real in this bodiless relationship space look like?

The Internet is the first global network that can integrate all other cultural networks, as it seems.
Nets are nets in that they do not cover areas or fill spaces, but they stand out from an in-between, which is a non-network. These spaces, not defined by the network itself, are decisive for the network.
In between is not a bad place.

In my translucent acrylic works, I develop hybrid spaces, frozen stills, by mixing analog and digital techniques. Creating with light an interaction of the real and the virtual.
Cut outs, image transfers, multi-samples are the means. The boundaries of painting are broadened with today's media.
Mixed reality. Painting without painting.

Folded room sculptures change their shape and color through light play overlays and movement. With colored shadows they form new virtual spaces. The art space is touchable and tangible and at the same time flexible and changeable.

With tape collages, also digitally alienated, iconic and graphic elements of pop-cultural framing, such as trademarks, comics, tattoos and scripts of protest, are developed as in the graffiti scene. These tapescapes mark space, form their own zones, block off, delimit, barricade, are provisional and, together with the acrylic glass, create the play of introspection and insight and thus new spatial conceptions.

And finally, one of the first virtual spaces to consciously work with space experience is the church. I develop a new form of postmodern reverse glass painting from these art historical references.