…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history.
Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work…
In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form…
(from: "Homo Ludens" by Tineke Reijnders)
Homo Ludens 8
ultrachrome print
size: 120 x 173 cm
68" x 47"
year: 2017
Gravitation
ultrachrome print
size: 100 x 137 cm
40" x 54"
year: 2010
HL 11
ultrachrome print
size: 100 x 80 cm
40" x 32 "
year: 2015
Homo Ludens 22
ultrachrome print
size: 120 x 173 cm
68" x 47"
year: 2013
Homo Ludens 42
ultrachrome print
size: 120 x 173 cm
68" x 47"
year: 2013
Homo Ludens
Kornati Splashsize: 145 × 100 cm l 39" × 57"
year: 2019
Homo Ludens 22
installation view Gallery Andersson/Sandström, Stockholm
ultrachrome print
size: 120 x 173 cm
year: 2013
Homo Ludens
Nelson Mandela Park
ultrachrome print
size: 100 x 145 cm, 39"x57"
year: 2021
Homo Ludens
Back Side, Amsterdam
Piezography
size: 100 x 145 x cm / 39 " x 57”
year: 2022
Homo Ludens
Schauspiel, Frankfurt
Piezography
size: 100 x 145 x cm / 39 " x 57”
year: 2022
…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history.
Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work…
In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form…
(from: "Homo Ludens" by Tineke Reijnders)