Julia von Eichel
Six years ago I abandoned color and started making white drawings that twisted light into patterns. Though the medium was oil paint, I considered the work drawings, since my technique was to etch miniscule grooves into burnished surfaces of paint, and when light fell on these grooves, patterns would move with the viewer and take on their own subtle hues, from silver to pink to orange. All of the dynamics within the drawings was confined to these solid white surfaces, kinetic but contained, expressive but austere.
As my work continued to develop, I felt like I could no longer contain the kinetic energy in my drawings to a flat surface on the wall. I wanted to make work that would occupy three dimensional space in the room, that would have an architecture as well as chaos.
The body of work that emerged became sculptures that are both drawings and installations. They are built into the room and vary depending on the proportions of the space, creating a three dimensional framework in which the drawings are trapped. First, I spill paint onto sheets of mylar, and, using a blow dryer, push the paint into shapes and textures. Then I cut the shapes out of the mylar and carve patterns into the shapes. I then manipulate them by threading strings through the mylar and fixing the string to the ceiling and the floor. The placement of the strings creates planes and lines, just as they would if I could draw a line in mid-air; for me they give the pieces a sense of formal structure. The mylar that floats inside this structure feels deceptively wistful and uncontrolled, capturing light in its seemingly organic arrangement. In fact, it is meticulously placed, because in any other position the structure of the piece would fail. It is this interplay between tension and laxity, between control and raw expression, that I seek to achieve in these works.
Artist Bio / CV
JULIA VON EICHEL
70 Cambridge Place
Brooklyn NY 11238
1993-1996 School of Visual Arts
1992-1993 The Art Institute of Chicago
1991 Corcoran School of the Arts
Exhibitions (*Solo Shows)
Feb. 2005* Michael Steinberg Fine Art, New York,NY
June 2004 Michael Steinberg Fine Art, New York, NY
May 2002* Jay Grimm Gallery, New York, NY
Feb. 2002 Graham Gallery, New York, NY
Sept. 2001* Addison/Ripley Gallery, Washington D.C
Oct. 2001* Jay Grimm Gallery, New York, NY
June 2000 Abstraction: Form to Field, Elizabeth Leach Gallery, Portland Oregon
Jan. 2000 4 PLY at 3 Crosby St., curated by Lisa Jacobs, New York, NY.
July 1999 Jay Grimm Gallery, New York, NY.
Nov. 1998 WORKS ON PAPER, Elizabeth Leach Gallery, Portland, OR.
June 1998 WALLPAPER, Nicholas Davies Gallery, New York, NY.
June 1998 FRESH, Addison/Ripley Gallery, Washington, DC
May 1998* Second Street Gallery, Charlottesville, VA
GoldmanSachs, New York, NY
The Equitable Life Assurance, New York, NY
Reckson Associates, New York, NY
The John W. Hechinger, Sr. Collection, "Tools As Art", Washington, DC
Stephanie von Pfuel, Munich, Germany
John Kluge, Munich, Germany, Charlottesville, Virginia, and New York City
Ritz Carlton, New York, NY
Elizabeth Flick, London, England
March 1999 Sarah Tanguy, Historian, "Comments on the Hechinger Collection", National Museum of American Art
Kenneth Johnson, "Three Painters", The New York Times, July 1999
The Pleasures of Abstraction, The Oregonian, July 2000
Short List, The New Yorker, May 2002