Installation, 23 acrylic glass steles (2 engraved), dolly of wood and steel, ratchet strap
Collection Museum Haus Konstruktiv
Natalia Stachon (born 1976 in Katowice, Poland) studied visual communication, art, and photography in Hamburg and Zurich. Inspired by American Minimal Art and its innovators in general, and Robert Morris in particular, she primarily explores the relationship between objects, space, and the beholder. She focuses on how things appear in certain situations, also from the point of view of processes, which can span long periods of time. She creates multipart artistic works that present themselves as optional arrangements within a plethora of possible options. Her critical reservation toward the idea of things being complete and absolute also manifests itself in her preference for working in variations and series.
The works “Roamer” and “RAJ” are prime examples of this approach. They were both shown in Natalia Stachon’s solo exhibition “Matter Shifted,” after which they became part of the collection of the Museum Haus Konstruktiv. These two works also demonstrate the artist’s interest in a material that, although it has a simple form, is aesthetically precious. “Roamer” is comprised of two different sized groups of transparent Plexiglas boards: one is stacked on the floor (7 boards) and the other is lashed onto a cart (4 x 4 boards). The cart was specially adapted for transporting fragile goods, and its utility lies in the specific transport of things from a to b, thus signaling functionality. At the same time, the title refers to the notion of roaming as an unrestricted, somewhat aimless and even lost mode of traveling. This poetic reference is echoed in a line by the English poet Robert Graves, which is engraved in two of the boards: “In your sleepy eyes I read the journey of which disjointedly you tell.” The artist uses this reference to heighten our awareness of the conformity and compound structure of things and the distances between them. At the same time, she shifts the focus away from those parts that are similar but not identical, creating an associative space for our hidden fears, desires, and hopes.
In “RAJ,” which is Polish for “paradise,” the artist returns to the theme of similarity and difference by first polishing and then crumpling a group of three paper-thin copper sheets. This work is one of a series of 30 unique editions that has each embarked on a singular journey in which they become marked by time in different ways, thus underlining the main theme of the work.