Text: Sabrina Schluckebier

26. Feb 2016

Anyone can produce an architectural drawing using pencil and paper…

A sheet of white paper can look pretty empty and non-descript: basically white material with no content, a virgin medium so to speak. It may be light or dark in colour, thick or thin, or practically transparent. Text, colours or lines lend the paper a sense of meaning, a statement, transform it into means of transmitting information. Without any of this the sheet of paper is uninteresting, dull, lacks value and remains unnoticed and unappreciated. You would think…

And yet, by using his hands and creating folds artist Simon Schubert is capable of generating unexpected spatial dimensions. What others regard solely as an information medium, Simon Schubert sees as a means for creativity. And light plays a powerful role in the resulting art work: thanks to the interplay of light and shadow stunning three-dimensional spaces and surfaces unfold before the eyes of the beholder. That is what it looks like at any rate. Just as an architect designs buildings, Simon Schubert designs spaces reminiscent of the Belle Epoche, a period of Western European history conventionally dated from the end of the Franco-Prussian War in 1871 to the outbreak of World War I in 1914. His art works feature empty windows with incident daylight or spiral staircases with intricate, intertwined steps. The idea of his “paperworks” is to address the topic of loneliness and isolation. The viewer perceives the spaces as acquiring an ethereal quality. The works are highly detailed and leave practically no part of the space undetected, with closed doors arousing enormous curiosity as to what lies concealed behind them. Although the paperworks radiate a certain dreamlike quality that is almost surreal, they actually achieve a reality of their own. […]

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The full version of the article can be found in PLD No. 100
Our PLD magazine app (iPad App Store) contains a media-enhanced version.

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