![\"\"](\"https:\/\/www.artoronto.ca\/wp-content\/uploads\/2018\/05\/2-and-1.jpg\")
<\/a><\/p>\nIstallation views of Angela Grauerholz\u2019s exhibition at Olga Korper Gallery, 2018<\/p>\n
Setting the stage with objects from different scenarios to depict empty places after people have left them, or maybe before they enter them, makes the images feel experimental, breaking the conventional compositional schemes. Analyzing how memory exist in between space and time is the key philosophical element in Grauerholz\u2019s work. Memory can fade over time, and only the part of it that is associated with strong emotions can become more vivid as time passes. Gauerholz addresses the idea that people can reconnect to their memories, \u2013 even long forgotten ones \u2013 or at least to the sentiment of them, when seeing the objects that were part of them. In the narrative of some images like “Small Sofa” and “Theaterlogen” we feel the strong presence of the artist, as though she had just vacated those seats.<\/p>\n
Angela Grauerholz, Small Sofa, Inkjet print on Arches paper, edition of 5, 48″ x 68″ (left) and Theaterlogen, Inkjet print on Arches paper, edition of 5, 40″ x 60″ (right)<\/p>\n Among the photographs, only one captured a person as the object of the image, which makes this particular piece stand out. The female figure, maybe a museum attendant, stands still in a relaxed posture, in a cool toned, empty museum corridor, waiting. She might be looking into a crowded room where masterpieces are admired by visitors or just into another vacant place. However, she is not part of the action. She is outside, quiet and motionless. The composition and the neutral colouring makes this photo fresh and serene.<\/p>\n Angela Grauerholz, La Compteuse, Mus\u00e9e Rodin (Paris), Inkjet print on Arches paper, edition of 5, 48″ x 68″<\/p>\n In some of the works, like “Venice Caf\u00e9” and “Mus\u00e9e Carnavalet – Salle n\u00b0106 Chambre du temple (Paris),” Grauerholz has created images that almost have the same texture and quality as oil paintings, reminding me of Mary Pratt\u2019s work. Mary Pratt\u2019s realistic paintings depict ordinary objects and scenes, using fine brush strokes to recreate every small detail, resulting in works that are very photographic. Some of Grauerholz\u2019s photogrpahs achieve the reverse effect. This ambiguity is especially strong in “Venice Caf\u00e9” when observed from a distance. “Mus\u00e9e Carnavalet\u2014 Salle n\u00b0106 Chambre du temple (Paris)” also has similar textural values to a painting, but what makes it unique is the bit of sky glanced through the open window; creating a contrast with the vintage wall paper. The view we can see \u2013 and the view we can\u2019t see because of the smallness of the window \u2013 provokes the viewer\u2019s curiosity about the scenery outside the camera\u2019s frame.<\/p>\n<\/a><\/p>\n<\/a><\/p>\n