The work of Hannah Sophie Dunkelberg operates at the transition between painting and sculpture. Her reliefs make tangible what she herself once said: \u00abFor me a surface always has a volume, a body, it is never two-dimensional.\u00bb At first, Dunkelberg’s partly transparent wall objects seem like abstract paintings inspired by ornamentation. On closer inspection, however, it soon becomes clear that they are sculptures in their most reduced form: The supposedly light brush stroke is materially inscribed in them.<\/p>\n\n\n\n
In Dunkelberg’s installation works, a fake level that can certainly be understood as humorous creeps in quite deliberately. The large version of her \u00abFainted couch\u00bb, for instance, as shown by the ensemble „Silly Symphonies“, captivates with its functional dimensions and simultane- ous glass fragility – in 19th century England, the fainting couch was an exclusive piece of furniture for supposedly hypersensitive ladies.<\/p>\n\n\n\n
At Tanznacht Berlin 2020, Dunkelberg is showing the installation \u00abE.X.P.O. (sub sole)\u00bb<\/strong>. The work deals with modes of showing and presenting in terms of technology and innovation, and asks what it actually means to exhibit.<\/p>\n\n\n\n By the interplay between abstraction and figuration, between erroneously superficial and sentient material, this art unfolds its appeal and involves the viewer\u2019s body.<\/p>\n\n\n\n <\/p>\n\n\n\n Hannah Sophie Dunkelberg<\/strong>, born in Bonn (1987), currently lives and works in Berlin. Her works play with the intersection of materiality and pictoriality and consciously stage painting and photography in the sculptural realm.<\/p>\n\n\n\n