Lena Trost

Country
Germany

Website
http://www.lenatrost.com/

Year
2018

Certain themes reoccur through Lena Trost’s artistic practice; the invisible, the intangible and the immaterial. Glass is a suitable material to manifest the dematerialized.

With its quality of transparency, it reveals what lies behind, next to or below, and often appears unseen. The materiality of the glass recedes in favor of what has been seen. Likewise smell is invisible, present and mostly ignored.

In her doctoral project “Embodiment of the volatile. The ability to notice that a substance is present. Or: how glass becomes odour“ Lena Trost claims that “glass smells”.

The Smell of Glass –Geruchsrad, 2018, 3 sheets of white glass, UV-print, moveable . 100 x 100 x 10 cm Lena Trost’s artistic practice — The Smell of Glass –Geruchsrad, 2018, 3 sheets of white glass, UV-print, moveable, 100 x 100 x 10 cm

The Smell of Glass – My Need of Smell, 2018, blown glass, breathing masks, metal desks, float glass, odourless fat. Dimensions variable. Lena Trost’s artistic practice — The Smell of Glass – My Need of Smell, 2018, blown glass, breathing masks, metal desks, float glass, odourless fat. Dimensions variable.

With this assertion, she demands a deeper understanding of the correlation between materials and their connotations. Lena Trost will appropriate the olfactory research for its artistic potential. Her conceptual claim to give a smell to the inorganic material glass and thus corporeality is intended to lead to an artistic position that makes it possible to perceive, and above all, to communicate about the intangible. This research she will continue developing during her residency in Berlin.

The Smell of Glass - The smell I see, 2018, white glass, laboratory clamps, 100 x 55 x 20 cm Lena Trost’s artistic practice — The Smell of Glass – The smell I see, 2018, white glass, laboratory clamps, 100 x 55 x 20 cm

Lena Trost holds an MFA from Institut für Künstlerische Keramik und Glas der Hochschule Koblenz, Höhr-Grenzhausen, DE. In 2017 she was part of the Chorus during documenta14 in Kassel. As a young artist, she realized solo exhibitions and participated in group shows in museums and galleries in Germany and France. Her work was recognized with Emy-Roeder-Förderpreis 2017 and 1. Preis des Gestaltungs- und Realisierungswettbewerbs für die Kapelle des Butenschoen-Hauses, Landau in 2016.

Lena Trost

Country
Germany

Program
Time&Space

Website
http://www.lenatrost.com/

Flickr
www.flickr.com

Year
2018

Certain themes reoccur through Lena Trost’s artistic practice; the invisible, the intangible and the immaterial. Glass is a suitable material to manifest the dematerialized.

With its quality of transparency, it reveals what lies behind, next to or below, and often appears unseen. The materiality of the glass recedes in favor of what has been seen. Likewise smell is invisible, present and mostly ignored.

In her doctoral project “Embodiment of the volatile. The ability to notice that a substance is present. Or: how glass becomes odour“ Lena Trost claims that “glass smells”.

Lena Trost

Country Germany

Program Time&Space

Website http://www.lenatrost.com/

Flickr www.flickr.com

Year 2018

Certain themes reoccur through Lena Trost’s artistic practice; the invisible, the intangible and the immaterial. Glass is a suitable material to manifest the dematerialized.

With its quality of transparency, it reveals what lies behind, next to or below, and often appears unseen. The materiality of the glass recedes in favor of what has been seen. Likewise smell is invisible, present and mostly ignored.

In her doctoral project “Embodiment of the volatile. The ability to notice that a substance is present. Or: how glass becomes odour“ Lena Trost claims that “glass smells”.

Country
Germany

Program
Time&Space

Website
http://www.lenatrost.com/

Flickr
www.flickr.com

Year
2018