| previous | Innerbeat H.J. Kraaij, Art Historian, Mark Kremer, Curator Looking at the work of Alexandra Roozen in exhibition space De Veemvloer you can't neglect the vision of a snowing TV-screen, pixels and digital sources. As if unclear streams of information are redefined by the artist into patterns. At the same time the drawings are to be read as a secret score: the beholder starts by himself to find the code. Alexandra Roozen (NL) passed her exams cum laude at Fine Arts Academy St. Joost in Breda. Although she controls several techniques, the last years she focuses on drawings. They arise through simple materials: pencil and paper. At least, it looks like this. The sheets she uses are of huge format and the one that observes her technique closely, sees the numerous dash repetitions that are done in a unusual way. The artist takes unconventional tools. In an electrical drill she places a pencil so another frequency and rhythm is added to her drawing. Or she puts her drawings into a shredder and replaces the equal fragments to a new work. Within this symbiosis of hand made and artificial techniques she researches the boundaries of personal signature and the uniqueness of a drawing. As well as the characteristic qualities as the limitations of the drawing materials will appear. Repetition seems to be the best way to make this survey visible. Firstly this can be seen in the drawings itself. Alexandra Roozen's monochrome works contain all graduations within the grey-scale from white to black. By repeating this tones a logical progression arises. The new-compiled drawing she copies by making new ones by hand. In conclusion she presents these stadiums together in a series. In the works of Alexandra Roozen the repetition is not in the sense of simply reproducing, but a labour-intensive process to understand the principal of the drawing. |
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