A mysterious, shadowy figure, Leipzig artist Nori Blume often keeps to herself. Her personality is defined by a passion for bringing people back to states of self-awareness through her art. Because of her quest, she has no room in her character for snobbery or grandiosity. Nori has been a local participant for the last three months. Even though she works in her own studio, she doesn’t fail to shower people with gentle kindness whenever she comes to the PILOTENKUECHE studios. To write about and put on a pedestal someone who doesn’t consider themselves more worthy than a fly on the wall is a hard task. That is why I’ve set out to find and share with you, the reader, the keys to open her art.
The first key to unravelling Nori can be found in her youth and upbringing. Her parents are art historians themselves. As a child she was surrounded by heavy art books and stories of great artists. But what really moved her was the intense energy she found pulsing from comic books and cinema. Her mind was captivated by these stirring visual sensations, and soon she began to create with her own hands. For years drawing and painting were the mediums of her choice. And even now, after years of working on sculptures and installations or video works, for her it always starts with a piece of blank paper and a pencil.
Because of her affection for cinema, each of her bi-dimensional works could be seen as a movie still. Translating an underlying narrative, they are fixed moments in time and space. No mark making here is accidental. Everything is premeditated. Abstract shapes in contrasting colors conceal underlying symbolism. One of the motives she often uses in her work is of a triangle. In different cultures and traditions the triangular structure can have a multitude of meanings, ranging from the holy trinity to mind, body, and spirit. However, Nori associates the triangle with added aspect of space and time.
images from artist website and instagram or by PK
Here we find the second key to viewing her works. After finishing her studies in installation art in Dresden, Nori expanded her way of looking. Each piece must be viewed in conjunction with the surrounding space. Everything, even the beam of light bursting through the window and shining light onto the canvas or sculpture and casting a shadow is taken into account. In this way, the space becomes filled with concrete artistic decision-making, albeit minimal at first glance.
There are times when she also chooses skin as her canvas. Nori doesn’t sign her name there. Despite this fact, she feels satisfied and happy to see people walking around covered in her art. The trust in Nori’s art and their willingness to become walking canvases is enough appreciation. Her art is an important means of connecting with people of all backgrounds. She explains, “I do not believe in wrapping it up in words. I believe in feeling art first.” If cinema can make people cry and comic books are good at making people laugh, art is made to touch a soul and return us to our uttermost intimate inner states.
written by Elžbieta Upė Rozanovaitė
Matilde Søes Rasmussen