Im Gespräch mit Lyndi Sales

Ashraf Jamal interviewt Lyndi Sales

1) Ashraf Jamal: Ihre Arbeit hatte immer eine sinnliche Texturqualität. Was bringt diese Qualität in Ihrer Arbeit zum Ausdruck?

Lyndi Sales: I majored in Printmaking at University but was constantly frustrated by the flat two dimensionality of the print. That’s when I began to cut up my prints and stagger them in layers to create paper theaters. This desire to construct in layers or to create something that is textural is evident in most of my work. I’m not sure why, perhaps it’s a desire to see between the artwork or through the artwork. Currently I’m interested in how the perspective changes as you move around an artwork opposed to looking at something that is two-dimensional and appears to be static.

2) AJ: Ihre Arbeit ist dafür bekannt, persönlich zu sein, aber es geht das Gerücht, dass Sie sich von der autobiografischen Schnittstelle entfernen und vielleicht mehr nach außen greifen? Hast du den anderen von dir gefunden?

LS: My current work was actually inspired by an astigmatic eye condition, which is described as “ghosting”. My starting point was a digital graphic I was able to get from my ophthalmologist after he took a 180-degree image of my cornea. My desire to interrogate notions of vision and perception began with the personal but lead to a looking outward particularly into the universe. This project is ongoing and feels like a natural progression from older works, which focused on the physical and the spiritual realm and how the two are separated and connected. A recent work “Vesica Piscis” is a reflection on the first cell division of the embryo. I have been pregnant 3 times in the past three years so although it may not be obvious my work is still primarily rooted in the personal.

3) AJ: I know this sounds very hey-shoo-wow, but I’m trying to understand how the private and intimate relates to that sense of estrangement, of release and openness which I also see at work.

LS: I assume by estrangement you are referring to the missing pieces or empty negative space that is evident in most of my work. I am always aware of the viewer constructing his or her own narrative in my work and with the laser cutting so much information be it text or painted area is cut away. In the process the work becomes something completely different and often unreadable. Its often quite random and I never know what will be left behind and what will remain as throw away residue. For me it’s an important act of surrendering control and in this process the openness is releasing.

4) AJ: Abstraktion spielt in Ihrer Kunst vielleicht eine größere Rolle als die figürliche oder empirische - ist dies der Fall?

LS: Yes I have a renewed appreciation for abstraction. In a previous body of work where my concern with the transition from physical body to spiritual realm was the focus, abstraction seemed like the appropriate form to take. In recent work where I attempt to portray the “unknown”, abstract form was the logical choice once again. Looking out into the universe and trying to comprehend what is known as “Dark matter” that comprises 84% of the universe but which remains unseen, the abstract seemed appropriate. Looking deep within the microscopic cellular body or out into the galaxy at the platonic solids or atoms of the universe, these structures that make up everything reveal themselves as abstract forms in my work.

5) AJ: Wenn Sie ein Klangäquivalent für das finden würden, was Sie visuell tun, welches wäre es?

LS: Ich liebe die Geräusche, die von Radioteleskopen aufgenommen werden. Sie reichen von der hohen Tonhöhe über die Pulsar-Klänge bis hin zu den piependen und oft synthetischen Klängen. Interessant daran, dass Sie beim Anhören ständig versuchen, diesen Code zu verstehen. Das Ping und die Pieptöne von möglicherweise Gravitationswellen des Weltraums klingeln. Ich würde mir vorstellen, dass schwarze Löcher wie ein langsames Trommeln klingen, das sich zu einem Crescendo von Feuerwerkskörpern beschleunigt, das mit einem Summen endet.
Durch die Umwandlung von Gammastrahlen in Musiknoten haben Wissenschaftler der NASA geschaffen, wie das Universum ihrer Meinung nach klingt. Ich mag diese Idee, aber das Endergebnis ist nicht abstrakt genug für meine Arbeit.