Изабелль Уэнзель

source: lamonomagazine

Isabelle Wenzel (1982) estudió fotografía y bellas artes en la Escuela Técnica Superior de Bielefeld en Alemania y en la actualidad vive y trabaja en Ámsterdam. Os hemos seleccionado dos de sus “originales” series: una llamada Building Images, dónde la artista nos traslada su idea de una oficina a través de imágenes de piernas, recurrentes en su trabajo. Ella reconoce que nunca ha trabajado en una oficina, y que siempre ha tenido la curiosidad de qué se sentiría al hacerlo, le despierta curiosidad los movimientos que un ser humano puede hacer en un espacio tan pequeño como un cubículo, pasillo, o sala. Según ella misma explica: “mi objetivo era convertir la lógica de una oficina al revés.” En la otra serie llamada Figures, las modelos de Wenzel, se doblan y retuercen en posiciones extrañas ocultando su cabeza y rostro, consiguiendo así crear figuras de inspiración “cubista”..
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source: aliciosablogspot

Isabelle Wenzel’s work is so sculptural. I look at her photography and want to make something three dimensional inspired by it. I hadn’t thought about the making of each photo there is an the element of performance involved in each piece.
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source: pinapardo

Isabelle Wenzel asks herself: „Who am I? What is the object and what relationship do we have to each other?“

She confronts the visitor with partly surreal and partly dynamic studies of the human body. They show cropped sections of a performance created especially for the camera. Her main emphasis is on the photographs‘ performative and sculptural aspects. The result is images that depict an explicitly created and staged world in which Wenzel takes the stage as photographer, model, sculpture and, in the final instance, as viewer, too. All three levels meld here into one new medium.
As a voyeur, one immerses oneself in a world replete in emotions and questions. Wenzel coquettishly presents the sexualized sexuality of her objects to the public eye and thus tempts us into an extravagant tête-à-tête. In the process, the contorted bodies give rise to a sculptural world in which there is no reference at all to the issue of person or personality. Some images reveal a cynical touch of the sit-com, such that you can readily encounter yourself in them. Spontaneity, movement and color are in this way interwoven, round each other out or engender new elements of tension. Wenzel‘s worlds offer us new perspectives and angles thanks to which you soon forget the natural and physical world order. Within the space of 10 seconds she grants us a fleeting glance at memories of something that went before, thus giving the image the scope to represent its or your own imagined reality. By doing so she succeeds in offering the viewer the greatest possible freedom of association.
Text: Graziella Kuhn