Natalia Stachon approaches her projects by analyzing the structure of the spaces she intends to use by associating them with the sculptural minimalisations that emerged out of the abstract avant-garde movements from Russia and Poland in the 1920s. Her fascination with Concrete and Minimal Art combined with her architectural interests have drawn her ideas into the same pool of thought as Robert Morris, Carl Andre and her drawings have a similar feeling as Gordon Matta-Clark. Stachon creates a sculptural dialogue with the space she works with by transforming her concepts into spatial, architectural constructions. Renate Wiehager, the director of the Daimler Art Collection describes Stachon’s compositions as geometrically constructed structures that are not only tactile but use their clear plastic luminosity as a means to create a medium without materiality, using intangible light as her basic raw material. These combinations of using transparent materials with solid industrial items pulls the viewers attention and guides them trough her three-dimensional drawing-like structures. One could say that her works are the embodiment of Walter Benjamin’s idea of the ‘dialectical image’ as a transformation where past and present intertwine to shape a new existence.
Stachon’s works have been shown, amongst others, at Museum Haus Konstruktiv, Zurich, Haus am Waldsee, Berlin, Daimler Contemporary, Berlin, and X-Initiative, New York.
Born 1976 in Katowice, Poland. Lives and works in Berlin.