Crumpled. Folded. Bent.

And it is with those forms of Tatjana Busch that the art spectator engages herself. Himself.
Here she, he begins to think. In this plurality.
“It could be like this and it could also be like that,” says Tatjana Busch.

And still the soul in a certain, ripe moment finds her very own instant
of manifestation. Then the “inner urge” (Kandinsky), the intuition,
turns into material form.
Then the creating authentic spirit has found its material likeness. Matter becomes witness to this singular point in time.
The relevance of location can join the form.
This is not always necessary.
But if yes, then a conversation emerges between
spirit, form and location.
Then the spirit of the artist manifests itself in a shape at a place.
Only here can this shape, this work of art, exist.
The location has merged into the art and became part of the art.
If the object is dissociated from the place, something is missing.
In its location.

The spectator, who hitches onto the form,
walks around Tatjana Busch’s objects.
Can approach from above, from below.
Front is back is front is sideways.
The eye jumps from edge to edge.
From shadow to shadow. From color to color.
The glance wants to penetrate.
Walking through moving stillness. Motion between space and time. Through space and time.
Each angle offers new perspectives.
Each angle allows for new associations, new streams of thoughts.
You only have to let them be.
Each angle is a facet of the art.
Together they constitute the history of the art.
The history of the artist. Her path, her thoughts, her life.
You can read the story. Intuition – geometry – play – law – shape.
Suddenly this becomes completely clear. In this instant.
And in this instant the artwork manifests itself.
Then the visible coincides with our thoughts, the inner eye.
It is the same instant, in which the “inner urge”
of Tatjana Busch became the shape of this artwork.
And it all makes sense.


Kat Schütz, 2010 / Translation by Dr. Julia Samwer.