Bianca Voss is a sculptor and although she works in different media, these media are all used in a sculptural way, they all present their sculptural qualities. In “Backvideo” we see a baker preparing his dough for the bread. As the raw material of the video is slightly modified, this dough becomes the main actor of the video, an enormous, ever changing, flexible sculpture. As the video “Seagulls” is aesthetically modified as well Voss visualises the existential brutality of the seagulls’ every day behaviour by showing the birds thrilling performance.
The works, which give the show the title, are two sculptures. They refer to a performance including a multiple the artist did in 2007 for the Westfälischer Kunstverein in Münster. The multiples were one fifth of totally burnt waffles in the shape of a heart. The performance on the evening of the opening, where the multiples were presented, took place in front of the Kunstverein on an extremely windy day. Voss apparently stressed out in her housewife`s costume baked burnt waffles and distributed them to the visitors. For the show at Annie Gentils Gallery she blew up the waffle iron, again one fifth of it in the form of a heart, and filled it with a black material, which represents the burnt dough. The waffle and the waffle iron, the tool and the result are separate artworks and again those objects reveal their brutality and their subconscious sculptural qualities. They are brutal but at the same time poetic, they show the struggle of the artist and the struggle of the woman with all those role models she is put in and she wants to fulfil and reject at the same time. It is funny and it is tragic and the poetry evolves from this ambivalence she sustains.
All works of Bianca Voss do have in one way or the other autobiographical backgrounds.
During her hard and uncharitable childhood in a poor farmers house she felt alienated and a stranger. In two photographs she now returns to these surroundings. Wearing rubber boots on her naked legs and a white work coat of her father, she photographs herself in a barn and in a workshop. In both photographs her sex is undefined, light and shadow give her the aura of a visitation, something unreal appearing from and going back to the shadow. In the barn light is falling through the holes of the door, like stars, the disc of the circular saw looks like the sun, she stands in profile and looks to the viewer.
It is this ambivalence of a sculptural presence and disappearance, of brutality and poetry, of struggle and serenity, which makes the works of Bianca Voss so thrilling.
- - verberg extra tekst