Reflection of Stephanie Link’s Artistic Work


When creating her work artist Stephanie Link concentrates on very earthly materials such as stone and clay, materials found within her immediate surroundings. Her concept of form, so to speak, passes through these materials thereby localising the character of her creations and making them pleasantly site specific – her “things” are found at an acceptable but bridgeable distance to traditional ceramic art and sculpting.

In this manner the halved lime-stones present the secrets of interior guise, however, only revealed through the non-recurring element of the form such as a seal that has been broken forever. The massive casings have lost their important function; they no no longer reveal or conceal yet we acknowledge the benefit of their "interiorness" but not without awesome respect for the loss of their prior entirety. What we find inside completes this poetic image with suitable “things” -here actually only- being suitable when one calls them by their second name. The divided shells are also available without fillings, though associative fillings have indeed left definite traces behind; in the imprint of such a “lost” form suggests something pictorial in the moment before departure or better said, just before the moment vanishing. Stephanie Link has enhanced these striking lost or vanishing images through the large divided blocks of “Human Impressions in Stone” through her latest ceramic works.

Ceramic is the classic material for all types of vessels. One encounters elements of highly specialised industrial ceramics of the early 20th century as well as elements of more traditional household ceramics in Stephanie´s work. They are converted in an artful manner, freed from their intended purpose and rededicated, thereby making their credibility equal to their sources, but have an advantage through the strength and poetry of imaginary and moderately dosed absurdity. Interestingly enough Stephanie´s vessels return a part of this new art-related essence to their origin’s distant relations, or better said; makes them visible. Finally, all of her vessels, casings and cocoons pay homage to a fundamental invention of nature, the invention of the “interior and exterior” and the boundary between both of these and the overcoming of this boundary. The artist has managed to persuade us to concentrate on “filling, emptying and preserving” as a category, as a life accompanying, life-giving act in a very cultivated and ritualised form.