SCHLEICHER/LANGE is pleased to announce Franziska Furter's solo show "O B A F G K M L T".

The focus of the Berlin based Swiss artist is on drawing: Franziska Furter concentrates on landscapes, phenomena from outer space, or borrows images from magazines or manga cartoons, combining them and defamiliarizing them to create virtually abstract forms, often limiting the spectrum of color to shades of black and white.

The medium of drawing is a starting point from which she works towards the three dimensional, taking on space. Objects emerge that are site-specific, or engage with the place of exhibition, be it a mobile made of dozens of chimes in public space in Zurich (Mojo, 2012) or an exhibition space in Seoul that is overtaken with vines of artificial black foliage (Monstera, 2012). At SCHLEICHER/LANGE, Franziska Furter presents works from a new series of drawings (Corona, 2012). These can be seen as a continuation of her “Internal Friction” (2009) series in which geometric pencil drawings rub against running fields of watercolor. For her “Corona” drawings, she uses a highly reduced technique: using only drops of ink and soap, she reveals large format images of cyclic shapes. The traces of color oscillate from nuances of bright gray to dark black, although the procedure is always the same. The secret here lies between chance and control: “It is a controlled chance: I take a structure or a system and let it run its course.”

The central, name giving work "O B A F G K M L T" (2012) is a filigreed, meandering construction of colorful wire structures. These objects seem like three-dimensional sketches that hover in the gallery. Shimmering in various spectra of color, they develop, despite their weightlessness, a presence that reflects the atmosphere of the space and takes on its formal qualities as well as its light situation. Furter here quite consciously violates the stringency of the White Cube and installs compounds that oscillate between existence and non-existence like the weather. “I don’t seek to refract the light, but to redirect its path or bend it.”

Lightness and the almost emptiness are the underlying subjects of this exhibition: the void allows for taking pause or the space of possibility. Especially in Taoist philosophy, things can only be grasped in their relation to their surroundings or empty space. They are only completely understood when they are seen from the void. The void here is not just the prerequisite for life, but what allows for the “filled” to develop its complete power.