Ursula Ströbele

About the ambiguity of this word play, the way of reading each individual word decides a composition of HEAT and TRASH or rather HEAT RASH? Her exhibition titles originating from the U.S. artist and musician Katelyn Farstad speaks at the viewer directly and gives him a riddle on the way. Now what does this term mean?

When you enter the rooms of the Berlin Gallery Luis Campana, located fairly slowly open up the semantic level, the gaudy images jump because of their color brilliance immediately catches the eye and the beautiful views nervously back and wander forth. Search images similar to occur gradually from the assemblage‐like woven, lovingly composed material landscapes familiar artifacts and materiality out—matches, light bulbs, photographs, newspaper clippings, textile fragments, plastic flowers, acrylic paint, enamel, frame, glasses without lenses, bright yellow lemons, wire threads, the lattice pieces, pins and foam...

Farstad—the self as a painter understands—relies on residues of various origins, discarded items from the budget and former decorative items, which they wrested from their original context gives a second life and in their, game with the vocabulary of the postmodern constellations newly rooted. Fixed on a support base and overdrawn with iridescent color layers or sprayed over, they claim by their space—striding haptic plasticity. Some open her counterpart as peep shows and give insights into their miniature world and still life award. Merged and stacked on each other, things start to talk to each other Farstad says—“I like to dabble in extremes and putting those things in conversation with each other, showing works together that maybe you would normally think you shouldn’t because upon first impression they don’t necessarily have anything to do with each other, but by proximity start to bleed onto each other a little bit.”

Contrast full confrontation between the objects or yet a peaceful dialogue, which asserts itself, which attracts the attention, what memories are awakened by them with their sometimes irritating and strange compositions, a second, deeper consideration is to be challenged by a first glance to possible premature misperceptions to avoid and erroneous nature... “Curiosity and admiration are good gateway feelings” says Farstad in an interview. Suitable to their statement they reminded mainly closer to the central, serenity ‐inducing work, David Fischli and Peter Weiss film “The Way Things Go” in 1987 emerged a movie that shows the sequence of a sculptural space built in the causal chain from different devices. Like a chain reaction, one element is in each case a motion pulse to the next one. In Farstad’s works it varies between the perceptions smirking Humor, exuberant opulence and a private, unusual light also inverse‐ logic of beauty, as also the title is to be understood in its indicated ambivalence.

The hastiness of Trash, Hot Trash, or HEAT RASH, an expression of the medicine for welding blisters and heat rash, triggered by an irritation of the skin. The in the long art historical tradition of collages (Kurt Schwitters, Robert Rauschenberg, and Jasper Johns) yet standing whimsical reliefs and sculptures Farstad do not rest the eye. These paintings shine in their expressiveness and their impulsivity pops up, opens us up to this seemingly enigmatic imagery and a refusal of a unique cohesion. For a comprehensive convolute out the artist and existing and exhibited works subjected to a renewed labor process, they changed and integrates them into new structures. The classic material hierarchy seems turned upside down, they dynamically arranged on the image carrier materials overlap always the frame and blow up the format shown. They conquer the space and allow the interaction with the recipient to new dream and wonderful stories are created.

Katelyn Farstad

Luis Campaña
November 2013–January 2014