There is a gallery space hidden down Britannia street near King’s Cross station (so near, in fact, there is no excuse not to go). It opens up into a maze of compact but seemingly vast expanses of pure white walls interspersed with swathes of natural light. I’ve been to galleries before, but this was on another level of pristine purity.
Katharina Grosse is a German-born artist whose work involves paint, stencils and negative space to produce striking, geometric pieces.
In ‘Prototypes of Imagination’, Grosse reveals the ways in which painting catalyzes the unfolding of multiple dimensions on a single surface
– Gagosian exhibition pamphlet
One almost falls into the first installation, the small antechamber of the entrance hall opening up to the largest room with no warning, no ceremony. The largest piece was canvas hanging from the ceiling, almost like a waterfall. One could peek behind it as there was no wall directly behind it, which added to the drama and impact on arrival.
In the adjoining rooms, huge individual canvases dwarfed the viewer. I felt truly moved by the scale of these pieces, the energy and emotion that weaved its way through the collection. Some pieces were hard, jagged, abrupt with pointy, straight lines. Some had colours flowing around areas of negative space.
There is no boundary between reality and imagination. To imagine is to realize. My pictures are prototypes of this recognition; they try out – and dramatically compress – the characteristics of reality. I build prototypes of the imagination so they can be reenacted and applied to other fields of endeavour
– Katharina Grosse
One piece (not pictured), brought up feelings of dread from afar with brutal lines and use of grey. On closer inspection, one saw the lichen-like dabbing of acrylic, that the grey was actually a silver sheen, and that up close it behaved completely differently.
If this collection explores imagination, then it inspires as much as it has been inspired. All the pieces were unnamed, unadorned, unexplained. Part of me struggled with this, I needed to know why that drip was there, what that shape meant. What did the artist feel in the exact moment of that brush stroke? Not being titled, though, seemed to almost be the title piece itself. Allow your imagination to be explored, each canvas said, and tell me what you think. I think in that lies the real genius of this collection.