Light Drawings

2012 – 2015

‘Cartography of Control’, 2015 | Troika (Eva Rucki, Sebastien Noel, Conny Freyer)
’Path of Least Resistance’, 2014, Electric charge on paper, 124 x 87 cm Installation View, ‘Cartography of Control’, Kohn Gallery, 2015
'Cartography of Control', 2014, (Left), 'Path of Most Resistance', 2012 | Troika (Conny Freyer, Eva Rucki, Sebastien Noel)
‘Walk the Line: New Paths in Drawing’, Installation View, Kunstmuseum Wolfsburg, 2015
‘Path of Least Resistance’, 2013 | Troika (Conny Freyer, Eva Rucki, Sebastien Noel)
‘Path of Least Resistance’, 2013, electric charge on paper, Installation View,‘ The Far Side of Reason’, OMR, 2013
‘Cartography of control’, 2014 | Troika (Eva Rucki, Sebastien Noel, Conny
‘Cartography of control’, 2014, electric charge on paper, 153.6 x 297.5 cm
'Fahrenheit 451, 2012 | Troika (Eva Rucki, Sebastien Noel, Conny Freyer)
‘Fahrenheit 451, 2014 Electric charge on Xenon paper, 29.7 x 21 cm

Installation View ‘Walk the Line: New Paths in Drawing’, Kunstmuseum Wolfsburg, 2015

Troika’s Light Drawings encompass multiple series, which all rely on variations of the same mark-making process, the burning of paper with an electric charge. The singed lines are burnt through paper as a current tries to overcome the material’s resistance, where the paper was saturated with water. All
emerge from their play with controlling processes that are, inherently, beyond control. The organic, irregular forms seen in ‘Fahrenheit 451’ (2012), ‘Path of Most Resistance’ (2012), ‘Path of Least Resistance’ (2013), ‘Delta’ (2013) and ‘Cartography of Control’ (2014) are made by burning paper with an electric charge, which manifests as intricate repeat-basic patterns.

The results evokes rivers, tributaries, oxbow lakes, blood vessels, veins, capillaries, and plant roots, the patterns of which all stemming from the same genetic law. In ‘Delta’, the charred pathway distinctly assumes the patterning of a river delta, while ‘Path of Most Resistance’ forces the charge to assume a circular pattern, one of the first figures of abstraction, in an act reminiscent of the Opera Contra Natura of Promethean myths.