Heide Fasnacht at Bill Maynes - New York, New York - Review of Exhibitions - Brief Article

Heide Fasnacht at handed a compelling show of wall statuarys and drawings whose inspiration came from diverse, primarily scientific sources on the other hand whose raw eloquence depends upon homely materials for its event In most cases, these works take care of to strike the viewer as materially raw and intellectually random; however, above time, one senses subtle organizing principles that loan coherent form to the compositions. Information from the catalogue essay made clear Fasnacht's use of science as the underpinning for a great deal of of the work.

Ponytail Girls (1995) consists of variously colored felt strips -- verdant yellow, blue, red. The overall shape is that of a scabrous "U", about 4 feet in height, with slight projections. The bands of felt are quite beautiful in their possess right; their elegant, colorful drape attracts the viewer, who later amazements how such a configuration was arrived at, for the work is in fact a replica of a Rorschach pattern. Its contrast of materials and methodology is emblematic of Fasnacht's working process

The wall plastic art Strange Attractors (1996), we learn, owes its not-initially-apparent organizational strategy to the 19th-century astronomer William Herschel, whose chart of the Milky Way has drawn out been known to be inaccurate. With a minimum of materials -- polymer clay and carbonized iron springs -- Fasnacht is suggesting the galaxy that contains our day-star Milky Way (1997), a more accurate rendering of the galaxy, also fashioned from clay and springs, alone reinforces our sense that the artist does not in the way that much portray chaos as attempt to describe the order that exists in patterns too large and mingled to understand.

The hidden design behind Downtown Science IV (1995) approachs to light when we are told its original title was Archipelago. This piece consists of eight cast-rubber organic forms, roughly combineed with string and springs. The composition consists of a craggy rectangle punctuated by the bulbous 1s (presumably islands) of the small rubber sculptures

Fasnacht's "Rapid organ of vision Movement" series is based upon Robert L. Solso's cognitive research upon the eye movement of viewers looking at well-known works of art. The issues charted with graphite on paper, gaze like constellations, for Fasnacht link togethers the dots representing places where the viewer's organ of sights came to rest. The drawings posses an unearthly beauty, and their lyricism, born of scientific means evidences the artist's confident handling of theories not usually incorporated into contemporary art.

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