regine schumann works as a sculptor with simple geometric hollow elements out of plates of transparent colored acrylic glass. she does not fill them. the streight construction-cuts of the objects are opaque and work as colored drawing lines. here, they reveal up strong and change together with the movement of the spectator. this surprising flash cannot be traced back, it can never be repeated exactly. the spectator might go back and look again. repetition is not surprising, time has passed, afterimages have formed on his eyes. the expectation is there, but the "innocence " is gone.
sometimes regine cuts small circles out of the plates. the color is created in the two perforated surfaces in front of each other, "in front of " means the depth of the colored hollowed body. always in daylight or simple lighting, with different perspectives, for example through movement, body size and other things, result in a fine, color-differentiated field of form of the two panels and the lines of intersection of their circles. one must accept these visible reductive actions. regine doesn't want more. no paint is sprayed, painted or printed. here nothing is partly made rough, no mirror inserted, no objects embedded, no association, no action, no projection, no writing on top, meaning created. here are the colored, expensive, industrially manufactured panels, maybe 180 cm high, 90 cm wide, beforehand she has to decide for the depth of the hollow body, the clear cut edges, mostly straight, sometimes as circles or segments of a circle.
what is it that makes her special? she successfully trains herself to reduce, she knows that up to now her ways are surprising also herself. she uses the transparent, pure color of the individual panels, an overall color that arises in the spatial distance of the panels. the cuttings as fine, bright to dark shimmering lines. she knows about the reaction of the eyes, completely different for each person, the intensity of after-images. they call into question a lot. the time, the place, the object remain, the after-image goes with the spectator, even in the opposite color. - i am unsure in a beautiful way - .
planning an exhibition regine sees the room with its walls, the ceiling, the floor, and supporting columns as an opportunity to place a few such large groups of colored elements on the wall and floor. work sequences, following color systems, rhythms of forms. the groups are very reduced, very silent, this is caused by the impression of heavy and size, of radical. if vertical elements, that are recognized as necessary, such as pillars, disturb the free room, she may use them for an installation with earlier of her shock-elements, such as cable knitted tubes, ruffled and stretched bikini fabrics, elastic crochet chains, which she throws into the room as piles and in which you can see the completely different quality of such dense, confused, random groups, which radiate lively and are funny. lots of colorful drainpipes, pressed in rings and thrown around a column, need this column as a "neck " and bring the variety of images to the strict minimalistic world as an increase, the laughter back, together with the childish joy to bring in dubiousity into the art world.
regine builds her exhibitions with great precision like an architect. one would like to say about this radicalism: perfect! not one step further! but she knows the increase in “theater”, she works with light, with colored light, with black light as part of uv-radiation. she immerses her entire exhibition in a certain light for a certain time, here everyone can see the visual appearance of the existing bodies, the shadows and himself. regine experiments. she can choose the lasting of this lighting, change the color, this has an extreme influence on the conversations in the room.
as an even greater increase, she can choose “black light”, uv-radiation, that is only partially visible - it is probably already being used today in technical fields, for example in actions with gluten in adhesive bonds and in medical fields. while our seals shine, we are amazed, we are scared, we can ask regine about actions of our gluten at the moment. regine schumann developed this exhibition nada together with the japanese composer amy yagi, she composed, regine responded with a new wall and floor installation.
