The first impression of effortlessness is deceptive. The exhibits, created using a reduced range of means, were in fact produced with the utmost attention to detail, their components carefully chosen, reworked and refined several times – all in order to create things that appear silent and insignificant.

Cathy Wilkes’ artworks pass through continuous processes of self-observation, questioning and exploration of personal and universal meaning – they are simultaneously perceived
– as exactly what they are
– as triggers for memories, fantasies, sorrows and fears

Leda has furnished the project space accordingly: with a bar, a stage, technical equipment and wall texts. Until the event program launches (whenever Covid measures allow), the project space invites visitors to consume small doses of music, films, coffee and books, surrounded by an ensemble of drawings and images that give an impression of the artist’s psyche. The portraits / self-portraits which are presented on mirror frames become an allegory for contactless encounter.

Distance, togetherness and the fragility of identity constructs: these are themes which Leda Bourgogne also thinks about outside of the pandemic context. Her artworks pass through processual transformations, just like organisms which love and suffer. She tailors reflective skins made out of garment fabric for her paintings. She opens and closes membranes with box cutters, needle and thread. The scars remain visible. She infects the pictorial ground with spit out chewing gum. The impairment of the intact visual body is a repetitive activity in the artist’s methodology. Minor assault as an element of crime is surely a given in times when proximity represents a threat