Drawing in Space - ResonanceDrawing in Space - ResonanceDrawing in Space - ResonanceDrawing in Space - Resonance

Jeongmoon Choi - Drawing in Space - Resonance, 2020, Turm St. Andreas, Size variable, site-specific installation with flourescent thread, blacklight © EVI LICHTUNGEN Photographer Jeongmoon Choi


Drawing in Space - Resonance

In the installation "Drawing in Space" Jeongmoon Choi illuminates the darkness of the church tower room in St. Andrew's Church with a complex geometric arrangement of fluoriscent threads that will evoke a gentle and pleasant sensory confusion in the viewer. As the threads reflect the light in the structures designed by Choi, the room seems to vibrate. The artist conceives a tension between the fragility of the thread structures and the massive structure of the surrounding space. Her installation gives the impression of a virtual, pulsating contemplation of analog and digital positions, structures, movements and different perspectives of perception in space.


Jeongmoon Choi

Born 1966 in Seoul, South Korea, and since 2001 based in her second home Berlin, the artist Jeongmoon Choi has always lived and worked in an inspiring dialogue between Eastern and Western culture. Originally she studied painting, soon her work included objects, and in 2005 she discovered thread as a three-dimensional equivalent to brush and paint. Accordingly, spaces and public spaces became her canvas. The internationally active artist has already had solo exhibitions all over the world - from the HOCA in Hong Kong to the Maximiliansforum in Frankfurt and the MARCO in Mexico.



Turm St. Andreas

In Romanic times, the centre of the market and craftsmen's settlement shifted from the humid lowlands between Domburg Castle and St. Michael's Church to St. Andreas Church. Like the market churches in many other German bishop's towns, St. Andreas represented in the High Middle Ages the bourgeois self-confidence towards the sovereign power of the bishop (Hochstift), which was represented in the cathedral. Although the construction of the Gothic church began at the end of the 14th century, the tower did not reach its final height until 1883. And only recently it was reopened to the public, made possible by donations from the citizens who donated individual steps. In this way the citizens of Hildesheim made the space in the tower under the belfry high above the town usable again.


Jürgen Götz machte mit dem Verein „Aufstieg Kirchturm St. Andreas e.V.“ 1995 den Wiederaufstieg in den im zweiten Weltkrieg zerstörten Kirchturm möglich. Welche Fäden und Verbindungen er dafür spinnen musste, erzählt er im Gespräch.