Rainer Plum: Interview
Drawing, graphics, painting and installations are part of Rainer Plum’s portfolio. The point of reference of his artistic examination is the line. He considers them in their graphic qualities as well as the designations of shapes and bodies.
With the help of the element laser light I try to realize a spatial constellation, which structures the space rhythmically and allows the space, the void or the darkness, to be experienced as a force field. Seeing becomes the show of an unlimited energy and lightful relationship. My vision is to realize energetic periods of time, in which the past and the future coincide presently, incessantly on the way, which opens up new periods of time…, Rainer Plum describes his work.
Why did you agree to come to Hildesheim (in the province)?
The term provincial is relative and there are creative, intelligent minds in the province. I also expect an exciting light festival.
How do you understand the public sphere? What does it mean to you to work in public?
I understand the public sphere as a communication platform that enables interested visitors and artists to participate.
How did you deal with LIGHT / SEE /…. as experience?
Learning to SEE is the basis of all art.
My interest in the subject of light is based on the consistent development of my artistic work.
What inspires you for your work?
The source of inspiration is the constant open search.
What is in the foreground of your work?
The disappearance and appearance of things.
What is special about laser light for you?
The coherence of laser light.
Why do you work exclusively with green laser light?
I mainly work with laser light of wavelength 532nm (green) – not exclusively. I also use red, blue and white light lasers.
The green laser light of the wavelength 532nm is a bright white-green light (not simply green!). It radiates a high artificiality and is the most energetic colour.
How did you get the title “The Crystalline Space”?
I am interested in the spatial overlaps of the laser surfaces. When the laser surfaces run at an angle to each other, spaces are created that form a crystalline body.
You have been working with laser light for a long time, what has changed during this time – in the cultural context in general, but also in your personal work?
In my paintings I dealt with the 2-dimensional surface. Through the use of laser technology, I increasingly developed the 3 and 4-dimensional space up to the large outdoor installations, which I call time spaces. Art is increasingly interested in technology. But I have understood the value of the “simple” hand drawing in my constant use of the technique.
What is the best feedback you’ve received?
“Now it becomes understandable why you need the drawings!”