16 Ramersdorfer at work
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uncut, jagged and irregular. Arriving with a series of drawings of her ideas for the project, she then prepared tracings in order to get a sense of how the final blocks would look when set one behind the other. She began by cutting into the centre of one of the slabs, piercing through to the other side and progressively opening it up, but leaving angular connecting columns, which over time she rounded into smooth curved columnar forms, which she calls “energy lines”. In between these are aggressive pointed arrow-like shapes. Along all of the interior edges she made vigorous deep parallel cuts, creating a rich texture, revealing a golden colour embedded in the white limestone.
This rough texture is in sharp contrast to the smooth refined columns. A variation of this format was cut into each of the three stones. Then they were placed in a steel cradle fifty inches high, matched up one behind the other, balanced in space. The final work stands eight feet high.
apture and
reflect light – illuminating an unseen world.
The installation creates a complex integrated composition full of energy and life. Light plays over the differently carved surfaces animating them. The slabs reveal a crystalline structure, geological in nature. Their intricate forms and the mysterious deep space thus created draw you in to explore a pristine world that suggests the ancient geology of Belize. Ramersdorfer has written that interior spaces “capture and reflect light – illuminating an unseen world.”
This interaction of stone, space and light is a significant part of their presence… and transforms the inanimate material into a new context – an architecture of the soul – evoking a microcosm of cell structures, the source of life.” The columns placed one in front of the other create a nexus point, a bond and connection, with a constructive positive meaning, which points to unity, an emblem of hope for the future of Belize.
RAMERSDORFER
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