Jaak Fontier · 1998
LINDA MOLLEMAN // Het is evident dat een rijk fantasieleven voor de kunstenaar een troef is. Het staat ten dienste van het verlangen. Het verlangen om te spelen, de dwanggedachte om schoonheid te creëren. Het is de beleving van perfectie die aan de grondslag ligt van dit gevoel voor schoonheid. De aanwezigheid van schoonheid doet mij opleven. Mijn kunstwerken zitten dan ook vol meerduidigheid, die geïnterpreteerd kan worden binnen een context die door het werk zelf wordt gecreëerd. Niet alleen het traumatische maar ook de speelsheid, de fantasievolle denkprocessen, de gedreven gedachte, een verfijnde gevoeligheid voor lijn en vorm weerspiegelen de binnen- en buitenkanten van de Sculpturen en Installaties.
Beeldende kunst, Linda Molleman, Oedelem, Beernem, Kunstenares, Sculpturen, Installaties, Kunst in de openbare ruimte, Art, Artist, Sculptures, Installations, Art in public space
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Jaak Fontier · 1998

The first impulses towards composition are provided by intuïtion

— Jaak Fontier · 1998


Linda Molleman’s sculptures grow from an intense passion. A subtle balance arises beteen a spontaneous find and clear consideration. Objects, assemblages and installations are always combinations of what is materially, visually and spiritually unmatchable in ordinary reality. They are connections of elements which are at first sight incompatible. What is remarkable about Molleman’s interventions is precisely that she manages to create an artistically sound and fascinating unity from apparently incongruous and seemingly irreconcilable elements.

This integration of contracts and the unification of opposites results in selfwilled sculptures which always manifest themselves both spontaneously and surprisingly. The first impulses towards composition are provided by intuition; it is intuition which discovers the final foundation, which automatically finds the firts pole. During the growing process the spontaneous aspect is complemented, completed and finally perfected by more concious and purposeful activity, reflection on the choice and the nature of the anti-pole.

This confrontation of pole and anti-pole, thesis and antithesis, form and counterform, protagonist and antagonist is essential to each work.

The various connections of opposing components result in tensions and in fields saturated with clashing atmospheres and forces: the lightness and the softness of birds’ feathers on the hardness of a plaster ornament (in ‘P 8749’), the full mass of a polyester sphere as opposed tot he transparant wingbeat of a wispy construction
(in ‘The Angel’), the black plane of a canvas as a background for objects in twisted metal and glass (in ‘Death and Rebirth’).