On the Works of Lucie Beppler
He has to recognize a distance which lies between the bright atelier light, the clear order of table, chair and cupboard, easel and modelling trestle and the works which have taken control of the space.
Lucie Beppler keeps an artistic household in which the hand crafted and the contextual operations are undertaken with the same seriousness, with quiet impartiality and rigor.
There is a conspicuously large illustration stapled to the studio wall in Frankfurt ó an unusual format of an almost physical quality.
She worked on this for over five years, excluding the breaks, carefully composing the picture base with chalk and bone-glue until it gradually became darker.
Pencil, etching needle and the traces of woodcarving instruments have gradually covered, etched and violated the firm paper. And now the almost black piece of paper looks like an old stretched skin or like a dark sky from whose depths a few lights still penetrate.
Because the work in this drawing was not done on the table but directly facing the wall, she deposited something similar to iron-shavings on the strokes extending beyond the edge of the paper, making an electromagnetic field visible.
The drawings lie in many drawers of the document cabinet, organized thematically in groups ó the result of lengthy days and nights of work.
There is a drawer for most of them: abstract/structural, abstract/figure-like, cosmic, organic, plant, landscape are some of the categories, while completely different expressions form in the mind and underhand at work.
These are related to pain, frailty, fading away and destruction.
And still, at this most extreme point, beauty and sensuality can also suddenly shine through. Like a craved for but unexpected finding, not unlike an excavation, they appear unexpectedly and spread their radiance.
Hard content and tender strokes by no means preclude one another as can also be said of drastic figure modelling and contemplative peace.
Translation: Jeremy Gaines