Pia Ferm

Galerie Judith Andreae
May 14, 2020 9:52AM

"I want my objects to balance on the edge between being themselves and describing themselves"

Pia Ferm, Holly was baptised in the corridore, 2019

I often think about how to describe my work in a way that could include all parts of my practice in a fair way. And I keep coming back to the plain word images. But images in a very wide meaning, where it could also include a three demential sign or pictogram.

Pia Ferm, good breed, installation view Nassauischer Kunstverein Wiesbaden 2019, Copyright/Courtesy: the artist, photo: Janine Drewes, Wiesbaden.

I want my objects to balance on the edge between being themselves and describing themselves. Like hieroglyphs having left their walls or a drawing turned into a sculpture -not the motif of the drawing- but the drawing itself as turned into a sculpture. In relation to my weavings and tufted works I would explain it as despite the fact that they may be flirting with a painterly sphere, they are much more close to drawings, collages or traditional printmaking in their expression. And in their finished state more like sculptures of these: a sculpture of a drawing and its paper, or a object where both lines and blank fields are represented through a textile body.

Pia Ferm, view from the north slope, 2019

I also want to point out the slight misuse of the word image in relation to my work and the association to painting. An object containing or showing an image -without it being a photograph- does not automatically make it an object aspiring on being considered a painting. If image by default would equal painting, the logic would give that a tapestry, a drawing, a collage, or a print can be nothing but a blueprint for a painting or a mere painting-wannabe-object. -Instead of being read an image in its own right. It falls on its own impossibility since we know that this is not the case and in the era of (digital) images I think we should tune our perception and our language to correspond and reflect the multitude in the meaning of this word.

Pia Ferm, good breed, installation view Nassauischer Kunstverein Wiesbaden 2019, Copyright/Courtesy: the artist, photo: Janine Drewes, Wiesbaden.

Pia Ferm, good breed, installation view Nassauischer Kunstverein Wiesbaden 2019, Copyright/Courtesy: the artist, photo: Janine Drewes, Wiesbaden.

This is also why I like the German word Bildhauerin so much. It corresponds very well with what I would claim to be, as in the female conjunction of what strictly would be translated as "image carver" or "image cutter". Even though I actually only carve away material when I work with stone, I still have a distinct feeling that I am doing something that resembles a slow out-chiseling and uncovering of an image.

Class Tobias Rehberger . LASH 23, installation view Nassauischer Kunstverein Wiesbaden 2019, Copyright/Courtesy: Pia Ferm, photo: Janine Drewes, Wiesbaden.

It's also a physical output for my gaze, an offer to others to share my viewpoint and engagement and pare it with their own. It does not necessarily have to make sense, or even be intellectual decipherable, since I reason around art as a untranslatable medium where the paradox is that I can still communicate freely: I can understand and I can be understood. The previous step of my work will give the next and thru this I can build a grammar to contain my practice. -Or create a framework from where I can take off, onwards. I also like the words old fashioned connotations that inhibits a time-insisting dimension.

Take It Easy, installation view Galerie Judith Andreae, Bonn 2019, Copyright/Courtesy: Pia Ferm, photo Ben Hermanni

Galerie Judith Andreae