Denne tekst på dansk

In Sound of Shapes paper is the material of possibilities. Extended between concept and sensuous shape the work describes formation as well as deterioration. Perforations, small imprecisions and the frailty of the material evoke a notion of a faltering symmetry under attack.

Here it is not just about geometry’s dealings with the ideal, but just as much about physical, material, and sometimes blemished, forms reached through experimentation.

White is the most reflective and perhaps also the most fragile of all the colors, and the work is noticeably shaped and tinged by the light of the surroundings. Exhibition spaces typically strive for a pure and cubic neutrality, but here an active mirroring, or resonance, is taking place between the sculptures and the space. Even the smallest nuances and displacements become significant, and these crystalline, scintillating shapes become almost sonic in their exchange with the surrounding space. Or is it a visual image?
A row of trees – or a small garden – sustained by form and sentiment, but at the same time temporary and already about to disappear, because sensory impressions are ephemeral and paper so easily withers.

The notion of interchangeability is enhanced by how evident the process is in the work: The same basic shapes – polyhedron, pole and base – are repeated in different scales. The tension between an ideal and its fragile physical manifestation is a discernible intellectual aspect. However, the actual experience of the work is both very physical and very real. In these sculptural objects by Rikke Ravn Sørensen the tension between conceptual thinking and sense perception is deliberately upheld. This is not an artwork with a message in the traditional sense. Rather, it is reminiscent of all of the ways of conceiving and perceiving the world which we are all engaged in: A process where different structures appear and disappear, forever mutable and wavering between impermanence and something more perennial.

Rasmus Kjærboe
Art historian, M. A.