Untitled (Books without titles)
Digital Graphics, Abstract geometrical, Censorship, Minimal, Symbol / Letter, Processing graphics, 350x120x4cm
Untitled, 2017
Inkjet print and masking tape on paper, on wood frame, ca 76 x 120 cm each
The work „Untitled“ is a series in which four parts make up one piece of work.
It shows four scans of different book covers without titles and texts, so that there only remains a minimalistic graphic of lines or patterns. The digital edited scans are printed in large scale on paper and then mounted on shaped wood frames, whose sides are painted with a pastel colour corresponding to the printed image.
Within my work I‘m using coincidence as a stylistic device to illustrate the unpredictable. I‘m particularly interested in mistranslations and defects, which manifest themselves like little accidents during the creative process. The motifs – based on photographs and digital constructed layouts – are mainly transfered via inkjet or laser printers. The prints are usually produced in series with a formal or content-related correlation. By folding, covering or exposing the print area, the inital motif gets deconstructed during the printing process. Resulting in cracks, gaps and misalignments, these purposely provoked imperfections serve as an approach. As each stage raises new questions, it requires decisions that influence the further development, leaving the ultimate result unpredictable. The visible traces of involvement as well as the obvious repairs enlive the prints. As records of their own making my prints interact between the poles of their immanent materials, the manual elaboration and the formal aesthetic. The statement lies in their presence. My works are what they show and what is seen in them.
Lola Läufer
The printed art work of Lola Läufer preserves the ephemeral nature of what seems to be incorrect. The obvious strain of the material during manufacturing – the wrinkly jitter of the printheads, the partially peeling of the paint – deliberately avoid the expectation of an accurate depiction. Her support media ist mostly made of silk or tissue paper. Throughout the printing process they reveal those cracks and scratches, gaps and mismatches –just as their obvious repairs – that characterize their fragile aesthetics. That the hardly decipherable motifs stand back behind the surfaces smooth glaze, intensifies this impression once again.
Florian Adler
At the beginning there is a roaring sea of images. A self-made collection of representational, mostly architectural photographs, that stretches over many years and places. Some of them rise up, captivate the eye and demand for attention. Lola Läufer appropriates the pictures – reduces the image, reinterprets the appearance, decides anew concerning colours, shapes and details. Step by step she reprints her own artistic extract and forms a new work of art. The adventurous encounter of the machine – an inkjet printer – and the delicate silky fabric causes picturesque traces. The ghost in the machine is alive and creates stains, streaks and misalignments. Neighbouring print stages overlap one another and produce friction – an unpredictable energy within the picture. The work of Lola Läufer tells stories about collecting and selecting, about aesthetic analysis and calculated accidents. And it tells us about the uniqueness that developes from the interaction of artist, material and machine. There‘s no need to decode those stories at any cost, in fact the work speaks for itself – listen carefully.
Nina Schellhase
Inkjet print and masking tape on paper, on wood frame, ca 76 x 120 cm each
The work „Untitled“ is a series in which four parts make up one piece of work.
It shows four scans of different book covers without titles and texts, so that there only remains a minimalistic graphic of lines or patterns. The digital edited scans are printed in large scale on paper and then mounted on shaped wood frames, whose sides are painted with a pastel colour corresponding to the printed image.
Within my work I‘m using coincidence as a stylistic device to illustrate the unpredictable. I‘m particularly interested in mistranslations and defects, which manifest themselves like little accidents during the creative process. The motifs – based on photographs and digital constructed layouts – are mainly transfered via inkjet or laser printers. The prints are usually produced in series with a formal or content-related correlation. By folding, covering or exposing the print area, the inital motif gets deconstructed during the printing process. Resulting in cracks, gaps and misalignments, these purposely provoked imperfections serve as an approach. As each stage raises new questions, it requires decisions that influence the further development, leaving the ultimate result unpredictable. The visible traces of involvement as well as the obvious repairs enlive the prints. As records of their own making my prints interact between the poles of their immanent materials, the manual elaboration and the formal aesthetic. The statement lies in their presence. My works are what they show and what is seen in them.
Lola Läufer
The printed art work of Lola Läufer preserves the ephemeral nature of what seems to be incorrect. The obvious strain of the material during manufacturing – the wrinkly jitter of the printheads, the partially peeling of the paint – deliberately avoid the expectation of an accurate depiction. Her support media ist mostly made of silk or tissue paper. Throughout the printing process they reveal those cracks and scratches, gaps and mismatches –just as their obvious repairs – that characterize their fragile aesthetics. That the hardly decipherable motifs stand back behind the surfaces smooth glaze, intensifies this impression once again.
Florian Adler
At the beginning there is a roaring sea of images. A self-made collection of representational, mostly architectural photographs, that stretches over many years and places. Some of them rise up, captivate the eye and demand for attention. Lola Läufer appropriates the pictures – reduces the image, reinterprets the appearance, decides anew concerning colours, shapes and details. Step by step she reprints her own artistic extract and forms a new work of art. The adventurous encounter of the machine – an inkjet printer – and the delicate silky fabric causes picturesque traces. The ghost in the machine is alive and creates stains, streaks and misalignments. Neighbouring print stages overlap one another and produce friction – an unpredictable energy within the picture. The work of Lola Läufer tells stories about collecting and selecting, about aesthetic analysis and calculated accidents. And it tells us about the uniqueness that developes from the interaction of artist, material and machine. There‘s no need to decode those stories at any cost, in fact the work speaks for itself – listen carefully.
Nina Schellhase
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