For a long time, paper has been underrated by art, confined to only being a support for the creation of sketches, drawings, watercolor, simple projects. In the same way, in the majority of cases, we usually consider the work of an artist more or less important whether it is carried out on canvas or on paper.
Angela Glajcar’s work tears off these stereotypes, dignifies the material by making it the main character, starting an abstract-conceptual research which seems to tend towards conquering three-dimensionality through the accumulation and layering of two-dimensional planes.
Since the very beginning of her production, the work of this 47-year-old from Mainz focuses on the material (be it stone, wood, steel or paper) and on the concepts of interaction, contrast, relationship and dialog with the surrounding environment, with the viewer and with the components of the piece itself.
Especially in her works with paper, objective conditions (layered paper sheets) are clearly combined with subjective conditions, in which the artist tears pieces of each sheet (never randomly). This “process” follows the teachings of concrete art, an artistic movement according to which only a concept reflection can be a mediator.
In the past, in the early 50s studies had been carried out on volumes and materials, suffice it to think of artists from Azimuth and Zero: from Castellani’s extroflexions to the famous works by Lucio Fontana in which the flat canvas, by being cut or pierced, projects the viewer in a third dimension.
As in the works of these masters of contemporary art, in the works of A.G. too single flat two-dimensional sheets are transformed into plastic three-dimensional objects, but what is evident and marks the work is its constant presence on the edge of antithesis and contrasts.
Industrially-produced paper sheets (perfect and high-quality sheets) are modified by the manual action of the tear, representing its opposite. Afterwards, layered in sequence, the same damaged sheets go back to somehow reaching a form of balance and perfection.
In her works named “Terbloc”, “Werkgruppen”, but also in “Terforation”, there is a clear alternation between full and empty spaces, whereas in the “Contrarius” set, black is opposed to white.
Feelings of lightness and fragility, as opposed to the strength and heaviness of paper sheets, may be admired in the large installations, such as that of the great hall of Kunstverein Ludwigshafen. Huge and heavy paper sheets with a variable length between 8 and 15 meters float delicately, smooth and elegantly; they interact with external light sources, again creating contrast, chiaroscuro, lights and shadows, a dance of nuances projected on the walls and the floor of the building, overcoming borders and making the whole “space” a work of art.
In these great installations, in my opinion, Glajcar reaches the culmination of her expression, by using what she defines as “a passionate substance which can constantly change and take any shape” in an exciting and interactive fashion.
In front of her works the viewer becomes the user, discoverer, researcher, dreamer: somewhat like when you’re lying on the grass and look and the clouds trying to figure out their shape.
Giancarlo (Rossovermiglio Arte)