Elizabeth Fritsch -Sea Pieces
The space is immense. On the left are a group of pots made by Elizabeth Fritsch over a period of years. They stand on a single horizontal plane about a metre and a half from the ground. The juxtaposition of the pieces is thoughtful, the lighting temperature. In front, the floor is covered with newspaper photographs, directly or indirectly related to the sea. Reference material is everywhere and in the middle a chair layered with cushions, coloured red through to red; vibrant, positive, spotlit vermillion red. To the right, a work table cluttered with the everyday things of making. A new two part curvilinear form with vertical colours points to a dialectic of extremes that foreshadows change, yet confirms her preoccupation with that seeming conflict between the moment of ethereal calm and the thunderous storm to follow: the symmetry of violence and serenity reconciled.
For Elizabeth Fritsch the notion of time has a particular significance. The time dimension, both in its physical and metaphysical state, continues to be a constant and central concern. It embraces the conceptual implications of the space-time continuum, the emblematic time signature of the surface grdi structures, and the extended real time devoted to the work. And the most sustaining, a commitment to a personal practice in which a ‘nonchalant use of time’ is the essence of that activity. Such liberated time has within itself the freedom that allows accumulated knowledge of mindful enquiry to float free, not direct, the extraordinary totality of her poetic vision.
Victor Margrie 1998
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