une sorte de jardin mobile à traverse l'espace 2, 2017, carpet, epoxy, polymer, styropor, colour, 50x80x250cm
une sorte de jardin mobile à traverse l'espace 1, 2017, carpet, epoxy, polymer, styropor, colour, 45x120x200cm
une sorte de jardin mobile à traverse l'espace, 2017
Exhibition The Crop at Schloß Ringenberg
by Marie Stel and Dorothee Mosters
Fabricated notions of nature are central to Beckers sculpture Une sorte de jardin mobile à travers l’espace and her photographic series Veil. With the overgrown flying carpet the artist refers to Michel Foucaults use of the term ‘heterotopia’, which he used to describe fleeting spaces of ‘otherness’ that are impossible to grasp. The veils, being photographs of transparent covers, convey an equal intangibility.
In all of these works, Becker investigates our restricted view on nature on a domestic scale, while at the same time playing with foreign imagery. She thus reflects on an idea of true, universal nature, which is both aesthetic and enigmatic. An idea that is apparent in the fact that it is the natural and sensuous shapes of the billowing carpet and the translucent veils that draw the attention, despite their artificiality.