Katinka Mann: Geometry and the Organism
I would characterize my response to Katinka Mann's work in the following way: One, her work is simple, yet complex. Its contradictions are a reflection of how things exist in a world today. Two, she puts color in the space between form and expressions which becomes increasingly apparent the more we look at her work. Three, her art is not about representation in the everyday sense, but about another turn of the mind that looks at the world as a kind of visual force. Katinka Mann is an artist with perpetual curiosity.
She works with biomorphic forms. The material is aluminum and is covered in industrial paint. The cut wedges (rhomboids) in her work occasionally reveal the wall behind them. At other times, they are fixed on top of other shapes, which appear as unicellular forms, as amoebas. In this case, the rhomboid gives us a second color in contrast to the first.
In one of her green shapes, the rhomboid is cut through and slanted on the surface. This appears to energize the shape. Mann's works function as sculptural reliefs. In each case, the space of the wall enters into the work and becomes part of our visual experience. Her point of reference is somewhere between shape, space, and color. Her obtuse rhomboidal shapes take us on a journey unveiling the mysterious force we call life. Some would refer to this as content or affect, but the kind of meaning one searches for in these sculptural reliefs has its own origins.
As an artist, Katinka Mann is searching, and therefore her work is very much alive. I find these shapes extraordinary. Her work offers the viewer a fixed point between unicellular nature and architectonic culture derived from the human mind. The colors and contrasting shapes open doors of wonder. In addition, they offer a sense of place and the opportunity to reflect on geometry as integral to the organic functions of everyday life.
Robert C. Morgan 9/16