Chronology
Objectively, time can be measured precisely and yet we all experience time differently. Time is not something which can be caught or held onto. It is continuous and relative. Throughout art history, time has often been depicted in connection with the ephemeral. In the 17th century, the so-called vanitas still-lifes with skulls or other symbols of the fleeting quality of life were popular. The melting clocks from Dali’s oil painting „The Persistence of Memory“ have been copied countless times.
Time is not immediately obvious in Hoa Trinh’s paintings. It is in fact, invisible. Constructed shapes meet layers of colors and surfaces that were created with a planned random principle. Time is not represented linearly here, but is spatial; elastic and literally multi-layered.
Time is a recurring theme in many of Hoa Trinh’s works. It is omnipresent and yet at the same time, has a completely private aspect.
Objectively, time can be measured precisely and yet we all experience time differently. Time is not something which can be caught or held onto. It is continuous and relative. Throughout art history, time has often been depicted in connection with the ephemeral. In the 17th century, the so-called vanitas still-lifes with skulls or other symbols of the fleeting quality of life were popular. The melting clocks from Dali’s oil painting „The Persistence of Memory“ have been copied countless times.
Time is not immediately obvious in Hoa Trinh’s paintings. It is in fact, invisible. Constructed shapes meet layers of colors and surfaces that were created with a planned random principle. Time is not represented linearly here, but is spatial; elastic and literally multi-layered.
Time is a recurring theme in many of Hoa Trinh’s works. It is omnipresent and yet at the same time, has a completely private aspect.
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Zeittafel
Objektiv ist die Zeit genau messbar und doch erleben wir die Zeit alle unterschiedlich. Die Zeit ist nicht einzufangen. Sie ist fortlaufend und relativ. In der Kunst wurde die Zeit oft in Verbindung mit Vergänglichen abgebildet. Im 17. Jahrhundert waren die sogenannten Vanitas-Stillleben mit dem Totenschädel populär. Die zerfließenden Uhren aus Dalis Ölbild „Die Beständigkeit der Erinnerung“ sind schon unzählige Male kopiert worden.
Die Zeit ist auf den Bildern von Hoa Trinh hingegen nicht offensichtlich. Sie ist vielmehr unsichtbar. Konstruierte Formen treffen auf Farbebenen und Flächen, die mit dem geplanten Zufallsprinzip entstanden sind. Die Zeit wird hier nicht linear dargestellt, sondern ist räumlich, dehnbar und im wörtlichen Sinne vielschichtig.
Die Zeit ist in vielen seiner Arbeiten ein immer wiederkehrendes Thema. Sie ist omnipräsent und kann doch so privat sein.
