The issue of the approaches one may take to materials at the different locations in which a work can be viewed for a certain period of time under certain conditions – whether in an atelier or in an exhibition room – plays a central role in the works of Freya Richter. For her part, Richter typically uses objects she discovers more or less by chance (wood, paper, cardboard, etc.) and presents these things in such a manner that their aesthetic potential – perhaps meaningless in a previous functional context – is revealed.
The approach one takes to objects at specific locations also includes the manner in which these objects are unpacked, handled and distributed in the room in the course of their eventual placement. This never-complete form of production ultimately leads to a situation in which what is revealed to the beholder at first glance is always a work that is to some extent unfinished, i.e. just as if it were still being created.
Step by step, the elements find their places in the room as if joined by a force field that permits the creation of a unique spatial situation with dynamic layering and shifting effects. In their placement, they alternately offer the beholder momentary senses both of orientation and disorientation. This complex structure, within which the work is placed in a relationship to the room and the beholder, remains open to continuous rediscovery. Some things may soon appear explainable on account of certain formal correspondences while other things are grasped slowly in the form of sensual impressions that are not necessarily amenable to articulation.
Born 1975 in Heidelberg, lives and works in Leipzig.