Birgit Moffatt, 'Fragements of Deconstruction'
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Birgit Moffatt’s Reimagining Geometry shows a sensitive connection between nature and the urban environments that shaped her upbringing.
Growing up in East Berlin in the 70’s and 80’s she was exposed to an urban landscape shaped by the Cold War. Some of Moffatt’s work are reminiscent of the East German Plattenbau, prefabricated concrete buildings, which were a common sight in the structured urban landscape. The establishment of Kunst am Bau (Percent for Art) in 1950 involved visual artists in government building projects by setting aside a percentage of the construction cost for public art. The ubiquitous works of public art that emerged from this policy were often of an abstract geometric and cubic nature, inspiring many of the forms developed within Moffatt’s practice.
Moffatt constructs her works from cylindrical, hand-cut and dried harakeke leaves, which are then carefully strung into their final forms. The delicate forms gain strength from their geometric and architectural arrangements, each work casting intricate shadows creating what Moffatt describes as the fourth dimension of her work.
Moffatt’s use of harakeke reflects her connection and aroha to Aotearoa – her adopted home – linking her formative experiences in Berlin and her connection to Aotearoa. These works are a personal reflection of Moffatt’s cultural background, her connection to place and how these connections have shaped her identity.
Birgit Moffatt’s Reimagining Geometry shows a sensitive connection between nature and the urban environments that shaped her upbringing.
Growing up in East Berlin in the 70’s and 80’s she was exposed to an urban landscape shaped by the Cold War. Some of Moffatt’s work are reminiscent of the East German Plattenbau, prefabricated concrete buildings, which were a common sight in the structured urban landscape. The establishment of Kunst am Bau (Percent for Art) in 1950 involved visual artists in government building projects by setting aside a percentage of the construction cost for public art. The ubiquitous works of public art that emerged from this policy were often of an abstract geometric and cubic nature, inspiring many of the forms developed within Moffatt’s practice.
Moffatt constructs her works from cylindrical, hand-cut and dried harakeke leaves, which are then carefully strung into their final forms. The delicate forms gain strength from their geometric and architectural arrangements, each work casting intricate shadows creating what Moffatt describes as the fourth dimension of her work.
Moffatt’s use of harakeke reflects her connection and aroha to Aotearoa – her adopted home – linking her formative experiences in Berlin and her connection to Aotearoa. These works are a personal reflection of Moffatt’s cultural background, her connection to place and how these connections have shaped her identity.
