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The
sculptures of Rachel Kohn are less oriented to the external image of change.
They are much more oriented toward physical experiences and emotional moments.
They enable an effortless slide between the perspectives of below and above,
large and small, of looking down and wanting to climb up.
A
small, five-legged stool that leans shakily on a large shape, or a small,
two-legged stool hanging on a large tripod makes it possible to visualise the
instability of the relationship between mother and child. A smaller and a larger
chair or a chair and a table become actors in the story of wanting to become
bigger. A round shape cut from a segment and then returned to it tells the story
of the moment of harmonic connection between two small, kissing sisters.
Expressing autobiographical experiences in abstract shapes is also something
Rachel Kohn has done in earlier sculptures. Born in Prague and now living in
Berlin, Kohn made the topic of the “Bearers” her own at the beginning of
the1990s. It is a cycle of standing figures that melt together with their
burdens in a symbiosis. The shapes were already reminiscent of archaic idols and
a hint of the mythic continued there.
Their
burdens were motifs for not letting go or being able to surrender the tasks
women are given through their upbringing and by tradition. |
