Artists

Flora Klein

Press release

When you come into the gallery and look to either room from the entrance you see two slits, left and right, like you‘ve  entered the cockpit of some big head.  On the right, two works hang over windows, half eclipsing our view of the street—if you look up from the pavement  outside you see their backs facing out. The elongated Untitled (LED) once had a rectangular hole cut through it (think  window), only to be later closed off from behind. Two further works, We saw you at Kaufland and Parliament II , are  made up of previously aborted canvases which have been newly incorporated into three-part constellations. These re-  cently exhumed paintings, now reworked, carry up information from the past. Flora concurrently conceals and exposes  an earlier self and a since jettisoned character. Some of the parts were remnants (rejects) from her first exhibition at the  gallery, over eight years ago now. Today, nailed and screwed together, the respective panels are superficially united.  Slim, tacked-on black slat-frames both conjoin and divide, locking the panels at a neat distance from one another.  Here, an attempt to unify seems to halter wholeness. This is likely an appeal to further re-configurations, but we’re not  sure.  LEDs and mirror foil insist on the present tense. 0O54OX is made of a reflective plastic used for stage design - mise  en scène - held together with Gaffer. Engulfed by its surroundings (+ you), 0O54OX disfigures and regurgitates in  real time. As part of their 2020 two-person show at the gallery, Flora and Miriam did the inverse, discreetly shrouding  the big mirror in the gallery’s entrance beneath coats of white emulsion. Now, to return to the aforementioned work.  We saw you at Kaufland addresses us frontally, it informs us that there is more than one subject speaking, and that  these subjects have a past in which they have been observing you.  

SJ Sept 25