Sacha Goerg

The work of Sacha Goerg (* 1975 in Geneva, Switzerland; lives & works in Brussels, Belgium) seen through the visual codes generated by the variety of works cannot be understood in its entirety in an effortless way and unless one finds in the heterogeneity the key to the global reading. The representation of a collection and the moment when she becomes recognizable as such is already part of the suggested questions. In other words, the variety of the formal propositions between minimal art, figuration and comics grows out of a simple research core: the threshold and its position or the fascination for the inability to grasp a limit. It is not exactly a border or separation between two worlds in itself, but its outline: the swinging point between two states, two zones, two moments. Technically this line or this moment is indefinable, like a tangent point in mathematics. One must therefore focus on a ’before’ and an ’after’. The beauty might be in the ensuing oscillation, these swinging conditions that manifest themselves on the border of worlds, just before and almost after the turnover. This interest in the idea of an elusive third time is a determinant taking on various forms in Goerg’s work. In a structural and semantic form in stories through comics and the process of the reader’s understanding, but also formally with drawn areas symbolizing the threshold. This also appears in a very concrete way when it comes to abstraction. When wall pieces take advantage of their host surface by extending themselves on it, in a game of visual oscillation between contraction and expansion. The inner angles combined with lines pointing towards an outer space, generate a negative halo on the outline area of the art piece, like an ink drop in water. Thus making this complete set with blurry boundaries the artwork. At the same time these objects, as if they were sculptures, start through their relationship with time another shifting process. Yet it’s a matter of paint, surfaces and walls, a withstanding painting revealing hidden facets through a three-dimensional complexity. While taking a close look and discovering new angles, a feeling of recurring flimsiness – and real structural frailty! – will show with even more intensity the vacuity in the notion of a world’s permanence. At CCNOA Sacha Goerg will present a wall installation titled ‘Sputnik Melody’.

Sacha Goerg