Tara Filter (°1999, Stuttgart , Germany) makes sculptures, sculptures and conceptual artworks. By emphasising aesthetics, Filter considers making art a craft which is executed using clear formal rules and which should always refer to social reality.
Her sculptures are a drawn reflection upon the art of sculpture itself: thoroughly self-referential, yet no less aesthetically pleasing, and therefore deeply inscribed in the history of modernism – made present most palpably in the artist’s exploration of some of the most hallowed of modernist paradigms. By rejecting an objective truth and global cultural narratives, she uses references and ideas that are so integrated into the process of the composition of the work that they may escape those who do not take the time to explore how and why these images haunt you, like a good film, long after you’ve seen them.
Her works are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship. Through a radically singular approach that is nevertheless inscribed in the contemporary debate, she creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.
Her works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By experimenting with aleatoric processes, she tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
Her works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By questioning the concept of movement, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
Her work urge us to renegotiate sculpture as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. By focusing on techniques and materials, she creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
Her works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By applying abstraction, she formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
Her works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By choosing mainly formal solutions, she seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. Tara Filter currently lives and works in Zürich.
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