Helmerssons art a talking vacuum

"a Retrospective exhibition at the Kulturhuset in Stockholm"

"The sense of touch is crucial in Katrine Helmerssons art. The traces of the body's encounter with material is often the root of the expression. Hands and fingers marks in the mud the form of an affectionate presence."

"But it can also be about the more brutal approach, as bite marks and bites. It is reminiscent of child's approach to life: tactile, taste, and sometimes violently."

"now, Katrine Helmersson has a retrospective exhibition, it is a sensual event. From fallosformerna in La Société Phallocentrique years 1992 to 2000-century romantic blomsterskulpturer runs a red thread of sentient receptivity. But this is also a cocky boldness, and a willingness to challenge the prevailing arrangements."

"The recurring the survey of the phallic is at once serious and play. Phallus can be both hilarious fruktbarhetssymbol and stand for an intimidating könsmaktsordning."

"Female bröstformer and flat circles can, in return, exhibit a strong potency, an alternative to the patriarchal dominance. Sometimes coincides shapes in an exciting in between."

"In recent years, Helmersson travelled and worked in Mali, west africa, where, above all, Dogonfolkets culture provided new inspirations. The sculpture in bronze, Ariadneu002FMont Rouge, is originally made of curled clay. It looks like a mix between a volcano with a hole for lavaeruptioner or something organic with a body orifice. Its painstakingly built-up form feels at once naturgiven and constructed, familiar and strange."

"A new version of the sculpture Pochoir is made in rope stripped naked with a shiny rödsvart fabric. Pochoir is French and means void, pocket, or lack, and has given the exhibition its title. I'm guessing that it is the ambiguities in the word that attracted the artist, that it described as a lack can also be a pocket that could contain something. By gliporna in sculpture looks down into a darkness that not necessarily is empty."

"But the void is also there that all sculpture, playing against, it is the free space at all make the sculpture possible. To Katrine Helmersson working consciously with this is especially in the three-part work Wallflower from 2005. The paper flowers have this cast in bronze and hangs in the wires from the ceiling."

"the Forms resting in a sensual cluster in space, unreal light in spite of the heavy material. It is a stylish game with gravity and airspace conditions."

"Here are all the characteristics of a really good sculpture."

"Katrine Heimerson – Pochoir"

"Kulturhuset, Stockholm"