With every step she takes, every hand movement she makes, she steps closer to the world.
Quick yet determined, her hands fly with her chosen drawing material - whether with a pencil, liquid polystyrene or a small needle for the finest drawings. She is fascinated by things that condense, rhythmic, complex structures - on the level of content and material - building her own artistic alphabet. She dives into the deep spheres of consciousness in search of the basic force of humanity, its origins and transience.
Viktoria Strecker leads everything to its inevitable form, gives birth to new structures and tests the limits of what is possible again and again - a demand she places on everything.
Viktoria Strecker is fascinated by the formation of structures. She pursues chaotic fabrics which do not necessarily have a clearly recognizable pattern, but have been put together in a seemingly arbitrary organic way. Mathematics and biology are the foundations and could be understood as the language with which she speaks and with which she builds her structures - but not only. Often they are unconscious, hidden, remembered - and the search for deeply embedded memories and flashes of consciousness are also felt through the structures.
A R T I S T C O L A B O R A T I O N S
Within her art the reproduction of the same basic form never repeats exactly identically, displaying variation from the physical process through which it was created. Strecker's constructive principle is therefore that of repeating the same in successive steps and stages that build on each other. Through varying repetition and free combination, basic units can be joined together in a variety of ways to form larger units.
Despite this constructivist streak in her working method, however, it follows the paradigm of exploration rather than invention. For Strecker, it is a recreation, not a new creation. This presupposes a common origin, a hidden ancestral structure of all things, which is to be investigated and uncovered through experimentation and self-experimentation as in a research series.
Unlike the surrealists, however, the immobilisation of conscious control mechanisms is not aimed at releasing the individual unconscious; rather, it serves the visual objectification of supra-personal, even universal structures of life. It is not only about expression - it’s about research.
B O N S
BONS is a delicate composition of floating featherweight paper receipts, so light that they flutter to your every breath. With a smoldering iron held to the back of wispy thermal paper, Strecker guides the formation of abstract organic, almost baroque shapes-- white, anthracite and black tones melt into forms that are seemingly alive, as if they continue to move and contort even after Viktoria has stopped applying heat.
The almost ethereal quality of BONS is beautifully grounded by Strecker's choice of material: shopping receipts, each with its storied earthly history….
Strecker’s delicate figures flicker and swirl, as if dancing and sparking from a bonfire - you are immediately drawn ever deeper into Strecker’s mesmerizing world. Piece by piece, each featherweight paper invites you through a secret passage leading you into her natural world. Strecker’s vaguely familiar organic forms infuse a sense of comfort, but you keep grasping for your bearings as you encounter the unexpected. Otherworldly, yet so blissfully uncontrived.