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We've all made a mark in this world, some of us more than others. For starters, most of us have a finger print filed away in someone's office merged in between thousands and thousands of other similar yet slightly unique prints. The idea of making a lasting impresion is centuries old and is not exclusive to artists. It seems clear that it is an inherent need for all that is mortal which is evident simply in the uniqueness of a signature. Beyond the impression and the declaration, Koeppel takes the simple idea of stagnate mark making and makes it soluble. In her prjected arena, she
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In our century, many artists have attempted to evoke the sound of solidity and the breath of silence. From Man Ray to Klein and Duchamp (as he is always included in everything), they have sought to recreate the idea and relationships between time and space. Leaving only an impression or even the absence of an impression to manipulate their ideas so they can exist freely in a physical domain.
It begins with a part of the body, an action and then an impression. There
is the mark of time and space as well as absence.
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In Koeppel's work it is an experiment in all of these things. In Masse Critique she involves herself with light, water and matter in space, where there is no beginning or end. It is an experiment in ephemeral states of existence that can act as objects if you find a way to hold on to what you can't touch. The intangibility of these forces plays an important role in Koeppel's fusion. These masses that are coming together operate with their own means yet they are being cultivated and metamorphose with the subtle touch of what's mortal.
Koeppel's Masse Critique begins from the cognitive place where all it's
actions seem insignificant. the infinitely repeating interactin fo the
shadows, merge and destroy one another in a cyclical narrative that
impresses a mark upon the moment.
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