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To separate and shift, to reflect, to play

In the process of working through concepts and experiences of space, Lorenzen does not aim for spectacular effects, nor does he set up experiments with the goal of explaining how vision or space in and of itself, functions. Rather, his minimal interventions and subtle shifts emphasize and play with the fact that space is constructed processually, through a series of changes, out of small fragments, which--through memory and the experience of time--eventually appear as the basic elements constituting any idea of space. The artist works with elements of the spatial situation at hand, while the visitor himself sets the work in motion. By creating situations and images of fragmentation, Lorenzen embraces postmodern concepts of space, and in his most recent works, he has begun to explore the ultimate fragmentation, in the form of digital, or virtual, space. The practice of separating elements, shifting, reflecting, and playing with them gives rise to the special quality of his work, which lies, essentially, in the continuous investiga- tion of spatial perception--not to ensure its function, but, on the contrary, to destabilize it. It is like a leap into the void, a game whose rules are grounded in the fact that, ultimately, the whole apparatus of human perception is analogous to the notion of the blind being led by the lame--that is, perception is guided by the cognitive processes that allow us to imagine what space is like. Still, playing with human limitations does not lead to stumbling; instead, it produces unexpected observations and experiences of space (and often, beauty), just as poetry can surprise with its virtuoso manipulation of boundaries, as it moves beyond the purely communicative functions of language.

Kathrin Meyer. In Point Of Fact, Berlin: Krome Gallery, 2010, p. 37