|TEXTS / TEXTE|
|BETTINA CARL: ARTISTIC STATEMENT|
BETTINA CARL: ZU MEINER ARBEITSWEISE
|BETTINA CARL: Was ich noch sagen wollte, Sie aber nicht unbedingt lesen müssen|
BETTINA CARL: Something else I wanted to say but you don't necessarily have to read
|STEFAN NEUNER: The Big Sky (verkleinert). Bemerkungen zur Zeichnung bei Bettina Carl|
STEFAN NEUNER: The Big Sky (Diminished). Notes on Bettina Carl's Drawings
KEN PRATT: Bettina Carl - Strumming for Martyrdom.
Something else I wanted to say but you don't necessarily have to read
Where almost everything is so distracting
1. to sort out
In my pocket I feel the keys, and a small piece of paper with an old
shopping list. And yes, there's a coin for the cart (well that's something
at least, cause the backpack's going to be heavy, with the cans and the
milk and the juice and the long queues), but there's no cleenex in the
pocket, no crumbly tiny scrap, nothing. What about a bakery: swing open
the door, sniffing loudly, and ask for a tissue? But I won't buy any bread
there, so, excuse me please I just, could I please - yes caught a cold you
see, sorry? No, I'd rather not.
My nose is running and I am alone here, moving in jerks. Eyes weeping,
my head tries to find a path for the backpack, the coat, the shoes and myself.
I'm advancing discreetly, avoiding the side stones, the looks, the windows,
the traffic lights, in a slalom. It's all about not appearing engaged with one's
steps: walking with an air of detachment and still being nice, speaking up
just right in time YES! Thanks, same to you.
2. to delete
It all comes back to the question of distance then, of keeping in touch with
the important, while taking due care to stay clear off the trivial. On closer
inspection, one will find that the overwhelming part of our capacity to
process perceptions is busy erasing information, deleteing concurrances,
dismissing incentives and passing by the climax and preface of tales in
the act of becoming.
Everything is immediately true in the first place, yet instantly we begin to
assort our impressions as neglectable or worthwhile preserving. (For the
minor issues there exists a storage system, a gate to cover the spaceless
depths of oblivion. Maybe this resembles those gambling machines in glass
boxes with slowly moving shelves ... on every landing, metal money is piling
up. Loads of coins may possibly pour down into the hands of the gambler -
one shilling can make it happen! But generally it all just tends to get more
and more, and always smaller, too.)
3. to depict
The images are desperately trapped in words. Something never stops babbling,
each spot and each line is involved in the talkshow featuring the spectator, the
paper and the history of art.
form follows function Drawing is a visualisation of wandering loops of thoughts
that have been consequently persecuted. Yet wherever we turn to, someone will
enter the picture to flourish a bunch of what-ever, blocking our view of the glaring
horizon of meaning. So drawing is an attempt to render an incoherent materiality
to an immaterial process: of getting lost, of seeing too much and of thinking too
much at a time. Quite often, it looks like an oversight.