Atousa Bandeh works are a way of discovering the internal world, which leads to understanding the externals world, who functions as a mirror of self.
She studies with camera and processes with paint. The outcome is in itself a poem rich in metaphors, not stuck in categorical thinking but in indexical following and in contextualizing conclusions. To Kristeva poetry is neither fetishism nor murder, however, it dares to look at human’s destructivity, it sublimates it by destroying the grammar in which the common language is made. History is the common language for the destructivity of man. Bandeh searches and establishes the psychic space in the social life under the reign of idealisms, trace them in the buildings of the past, in the barren forgotten landscapes. She alerts us of the state in which if poetry won’t be employed and increased, we are left with a voiceless man, crying at his defeat against himself. (Sam Samiee)
Dianne Hagen’s works have no titles. They are rightly named after the materials or parts they are composed of, because these works are not sculptures nor objects manufactured from raw material or made with a purpose or a function that would give them unity or clarity. They do not get round to the unity of a name and the clarity of language. Since they have no name, they can not fit in a whole either: the works do not look for contact with their “environment” or the world, nor with each other. The works cannot be “installed”. One can only look for a place where they can be alone in order to exist in their own space. Neither are Hagen’s works constructions or structures. One can not “formalize” the logic with which they were made. The work is not organized or supported by geometrical forms or by numbers, there is no structure which is filled and which gives the parts a necessary place and stability. No abstraction, symmetry, opposition, equilibrium.... Hagen’s works are compositions which, since they give no evidence of an underlying geometry and do not visualize a concept, appear to be amorphous and fragile and not justified.
Mariëlle Videler explores a new and intensive manner of feeling, perceiving and acting. Videler’s work is a sensory quest for awareness, corporality and above all the animation of things. In this process she directly draws inspiration from nature and nourishes herself with research into the knowledge, ideology and craft of other cultures. She identifies herself with a traveller who undertakes physical journeys, but also imaginary journeys first and foremost.
Her work and life are devoted to detachment and re-attachment, an obsessive and confrontational quest for purity. She questions the impact of worldwide extractivism, of tourism, and of the wall of global capitalism. And she endeavours to strike a balance between her own local and cultural history on the one hand and worldwide social reflections on the other.