The use of light in space
“Certainly, I couldn’t explain it completely and nonetheless I was sure, I have captured the instant from which light, having crashed with a true event, was approaching to its consummation.”
- Maurice Blanchot, The Maddness of the Day
The acknowledgment of the transient nature in the image of space is mainly because the aporia of its anachronism. Like the impossibility of belonging to a specific time, the historicity of the photographic image silently between the viewer’s fingers. The photographer’s action pulls off the veil of temporality, between the evident coordinates of an imprecise present, which in some strange way fits when revealing a photograph. Nicole Ahland introduces herself as an artist of mysterious aesthetic who is experienced in the habitability of interior spaces.
In this process which involves the experience of inhabiting spaces, Ahland places herself in the middle of a rational map, which will allow later a perceptive opening towards a sensitive intelligibility of self-knowing on the outside. She observes reality through the silence of self-generating questions. This silence mutters the absence of something unknown. The photographic work emerges amidst a spatial awareness process, where the observing eye glimmers with self-awareness when the shutter clicks.
Absence of people in her images means that there isn’t “anyone” who poses before the camera. The photographer is the presence that assembles space as an image. The visual communication contained in these photographs refers to the perception of passive materialities whose activity grows on the aesthetic experience of the viewer. The visual space appear before the viewer as a symbolic constellation that take place on the coordinates of an “optical unconscious”, which opens up the access to worlds where time and history take on a different meaning in the trans-temporal experience of artistic perception.
The space, which is experienced in its “uniqueness”, is seen as a verb: “to space”, which places us in a space to open a specific dimension in there, a dimension that was created on its void and habitability. Nicole Ahland search habitable voids, inserts moves through that invisible space of the place, like a diver in the sea, and brings an immanent truth of spatial existence to the poetic surface of the forms. “Each living body is a space and has its space: it is created in the space and, at the same time, it creates that space,” said Henry Lefevbre in “The Production of Space.”
The production of an artistic space appears at the moment in which the body inhabits the found space. Its habitability opens up the representational field of the interior space (inside the body) thus allowing, through that gesture, the display of aesthetic coordinates without materially intervening the location. The appearance of a body/conscius consciousness in a space, through the viewer’s eye, makes visible a series of symbolic vectors that reconstruct the place with the sole inhabited shot.
In piece Widerschein #1, an angle that defines an open moving space can be seen, which is defined by the passage of time through the stain. The new truth as a non-hidden reality emerges in that image as imperfection. There are stains on the wall that imply the ancient concealment of those surfaces through installation, photographs or diverse objects possibly, wanting to hide the surface and showing others. More visible marks on those walls are a circle, three squares and an anthropomorphic silhouette that recalls the image of a girl. These marks, being inhabited by photographs, seem to take on the communicative possibility of a symbol. You can see white lines crossing the corners, and which, through the viewer/shutter are installed aesthetically in an artistic composition of the memory, abstract memory wandering on blunders of experience. Then, these marked lines seem to draw the spatial sense of the image, which demands being stared. Marking out the area of attention, it acts as a frame for the work, almost as an immaterial medium which somehow stresses the wall density which contains and strengthens the idea of an etheric-phantasmal symbol.
Widerschein #2 shows a state of transition, where minimal elements remain in space. On the floor, two low tables and a box which apparently contains part of the material that was hanging above. On the top of the wall, in the shapes of cross and cube-shaped traces of dust: two crucifixes and two rectangles drawn on the wall. These photographed stains appear in the living space of the creative synthesis, where the representational world, its aesthetic and the viewer’s constellations are joined. This, without moving anything in the photographed space, creates a latent world when she shoots what she sees. Any possible narrative fact is reflected towards the interpreter’s subconscious, which encodes it symbolically. As a poetic symbol of objective abandonment, these tattooed marks are made through a temporality covered by a persistent immovableness of objects drawn on the wall.
The viewer contemplates marks as a presence of void. Abandonment of space somehow implies its rupture, the movement of elements that would be constitutive of that ancient habitat, generate a symbolic dismantling of a space, an energetic removal, where everything seeks a new order.
In quer durch den schlaf #3 there is an event in the middle of moment. The mirror located on the floor reveals mobility. The Green sofa alludes to a state of recollection and thinking. That photograph is located between sedentariy nature and mutability, between penumbra and the light of human beings’ existence. Photographed elements work abstractly as an imprecise tale of an ongoing scene, as if it were on a break from the contemplated occurrence, where the artist captures all immaterial aspects of a scene through the perception of its materiality. A photographed break which is composed in the very act of observation.
In Flügelnnacht # 1 there is a silhouette of a person along with the silhouette of birds in flight. The silhouette of the person is projected on the inner wall which seems to be for meditation. There is a melancholic search to find yourself in that inner space. That translucent silhouette, along with the figure of the wings in flight, among light and dark, seem to indicate a state of observation and fantasy like an astral trip at dawn or dusk, from the penumbra, towards the light.
Compositions of aesthetic moments indicate an introspective place. Everything that is external is habitable through the internal. The main ideas that emerge toward the surface of the material reality are the artist’s coordinates of an inner habitat. The artistic dwelling of architectural spaces in their emptiness is a symbolic form of assembling a representation of fine self-observation.