Tanja Kriete

E-Mail: tanja@t-kriete.de

Zu meiner Person

colourful printed on wood strips of fruitboxes, connected like windowblinds, the colourful text and graphics are placed inwards, a heating lamp irradiates the inside suspended from the ceiling by thread, just not toutching the ground size: 180x180x2000 cm 1999 The light projects the future, or in geographical terms utopia, transported to us in a vehicle full of yearning for a paradisal sensation. The vehicle is a hut made of the second skin of fruits; fruitboxes which transported fruits to us from far regions.These printed on graphics are very colourful and often depict scenes of the mostly warm and beautiful landscapes the fruits come from.(Yet unreachable inside a space that we would recognize as a private space like a hut.) The non solid construction of the hut also symbolises the second skin that we always want to take with us when we travel a bit futher: bits and pieces of our own cultivated home (perhaps shelter, curiosity, cosyness). This hut is the ghost of homes, not a realistic shelter for human beings, but a concept which we discover as anthropomorphic yet too old or too exotic so that we can`t trace back it`s origin. Although its appearance is not very realistic and solid, it still attracts to physical aspects of living: rough and therefore very present material, heat, light. Here, one has an outside standing point, respectively an objective perspective into the interior to allow reflection, combined with a source of physical sensations that is located within the translucent, airy hut but can`t be touched (because it is hot, might be someone elses intimate space or appears to be too fragile to be entered).

the projection screen is made of wooden bases of fruitboxes, nailed together. size: 150x100 cm 1999 This projection screen (the wooden fruitbox bases) is full of rectangular wholes and one part is bend open like a door, which makes it a spatial object. It is placed right in front of a brickwall where the light from the projection produces a sharp shadow on the wall. The picture which is projected onto the wood grids` surface shows a gate to a dark space somewhere outdoors. I went out one night and tried to confront the blackness of a place with my camera. I was interested in the place, because I assumed a deep space behind it, filled with that something my eyes could not see but generated in me an intense sensation of fear and longing for home. So I flashed into it with my camera to see more details of this space. Iwanted to know its construction better in order to work on my fear. The result was, that due to the harsh contrast produced by the flash, my vision of the gate right in front of me was intensified and the space behind it got even darker and thereby denser, almost hermetically closed to anykind of entrance I had hoped of. Yet, I didn`t kow until I had developed the film. Until then I was happy with having confonted my fear. When I projected it onto the permeable surface of the wooden grid, I had sensations revers of what I had expected: I had the feeling of seeing a room behind that black gate, seeing the back of the door of wood and thereby getting a spatial notion produced by the light. Furthermore the wooden stack and the picture on it became a skin of light for the brickwall and at the same time produced a space with borders clearly defined by skin and wall. Yet the part of the projection which represents the black space inbetween the gates became the linking door from skin to the space behind it.I got the illusion of both images touching each other in the point of total blackness. The light of the projector and the light of the heating lamp inside the hut -installation both interact with each other in the way that the aspect of warmth is transported onto the door-installation and the aspect of a projection is transported into the hut.