| Consequently, the artist leaves impressions and visual data, and creates a field rich in allusion that provides validity for another reality.
This is also true of her drawings. At first, she seems to paraphrase Cy Twombly’s work in Rome and New York City from the late 1960s, while at once illustrating the differences through her own construction of the imagery. Initially, we recall the scriptural, scattering and decentralization.
We do not think of landscapes. Above is grayish black density, below windblown expanses, with the horizon between them. Soot-blackened circles and ellipses evoke the notion of a sky.
| Bright, autonomous circular movements from left to right conjure the idea of open space.
The two-dimensionality of the paper is extended into another dimension by the evocation of a landscape.
The surface seems to be vibrating space in motion. The drawings do not depict landscapes. However, the lineature and the painterly qualities make “landscapes” conceivable.
Simultaneously, the coexistence of line and color becomes clearly separated within each folio, but they shift into one another visually. And this visual overlapping first produces a third effect - the concept of a landscape made through a collage of smut and graphite.
| Therefore, it is not a question of an image of a landscape, but rather the representation of an idea of a “landscape,” which is to say an image that the draftswoman has made of a “landscape” not from a specific, regional, natural area, but of a general landscape in relation to the genre.
There are neither houses nor people, but deserts and savannas that become blurred with the sea and into mirages. At the same time we see a manifestation made of lines and color.
Such a representation of an idea of "landscape" is only possible through fundamental artistic reflection about the genre and about its relationship to reality. >>