Being and Time – Measuring the World
by Gregor Jansen
Is it presumptuous to measure the world?
The science of physics calibrates the world into specific mathematical formulas and physical
dimensions. These are both accurate deductions and interpolations of certain simplifications
as well as representations of highly complex empirical variables. The world is measurable –
compute it or refute it!
Gravity, magnetism and electricity are as tightly interwoven as painting with light and form.
It seems only natural, then, to join the two composites. Researchers are artists; artists are
researchers. The world and its phenomena, scientifically or culturally, are closely related.
And although we view the rationale of physics as irreconcilable with the subjectivity of art,
we are completely mistaken. This can be easily proven! Research is based on questions put
forth, in both disciplines in science as in art. The ensuing results are formulas or formulations,
descriptions and models of one comprehensible and interpretable point of view. From this perspective, physics and art is one stratum in the inventory of a particular time, a focus or purpose of interpretation. Nevertheless, nothing is, as it seems.
Who has the coconut?
In her latest works, Angelika J. Trojnarski places a medium between these phenomena -
painting. How can I paint the South Pole, how do I capture the issue of magnetism?
What‘s going on inside metals or crystals? What does it look like, the duality of light, particles
or waves? Let us see the Earth as a magnet. The tip pointing north is called the North Pole.
Field lines exit the north pole of a magnet and enter its south pole by definition. This explains
why the area on electromagnets and permanent magnets from which field lines emerge is called the North Pole, and the area they penetrate is called the South Pole. So, since the magnet’s north pole is attracted by the Arctic magnetic pole, the Arctic magnetic pole is a magnetic south pole. This covers the semantics of semantics.
With Angelika J. Trojnarski’s paintings, we venture into the visual terrain of oil on canvas or cardboard, most often collaged in multiple layers, subtly playing with planes on the pictorial ground. The inner structure of stones, layers and conditions of energy, the Earth and its layers, liquid magma, the conductibility of metals including magnetic stones such as the pyramidal magnetoids behind carved geometric lines of force. All of these are divinely understandable works of art, as tangible as the suspended constellations of smoothly polished coconuts netted in copper wire. A world in itself, the coconut has a hard shell covered with a delicate web, protecting the juicy meat and a liquid center. And then the copper wire: substantial knotted threads, flat as “solar disc” between stones or as painted surface repeatedly charged with energy - electrical conductor, symbolically and factually palpable, malleable and tenacious. Copper has achieved transcendence within modern painting, much like the golden areoles of the medieval masters.