Carolin Jörg and Michael Fragstein

Lines Fiction: Carolin, you once pointed out that in your drawings the liveliness of form is most important. What do you mean by that?

Carolin Jörg: The material I use in my work is paper, brush, and indian ink.
Working with fluid material means working with the unforeseen. Indian ink has its own liveliness that is hard to control. I act, and react to forms that unfold from wet paint. These growing, abstract shapes are defined by different color gradients, forms that keep organizing themselves, absorbing the artist’s gesture.

Lines Fiction: The animation “Der zweite Blick” (second glance) is then an extension of your drawing?

Carolin Jörg: At first sight the drawing presents itself as a single shape in the middle of the paper. The animation opens up a second level, some elements of the drawing get a new meaning or become the base for new particles and lines.
Another narrative emerges through spoken text and sound. Marie-Alice Schulz wrote the surreal text poems, Marc Fragstein and Denis Elmaci created the sound.
Each level contains new narrative structures without developing a linear story but rather a kind of surreal collage.

Lines Fiction: “Der zweite Blick” is a real joint project with your friend Michael Fragstein. How did you cooperate, and how does the animation work with your drawing?

Carolin Jörg: We previously made first drafts and animation concepts to find the shape that could stand on paper, as well as offering new levels for the animation. The working practice was clearly separated, I made the drawings, and Michael programmed the animation, but we discussed everything in detail.

Michael Fragstein: As well as the drawings, the animations are non-representational, they react to color gradients and delicate lines. Physical simulations are playinga a central role. At times in the animation the drawings are interpreted as the result of a biological microscopical process, another time drawn structures are associated with the impression of different aggregation states like fluid, solid or aeriform.

The visitor hovers the provided tablet computer over the drawing, launching the Augmented Reality App that calls up the previously not visible animation for the spot.*
You can imagine this Augmented Reality App for the animation as a transparent layer on top of the image, on which a video is displayed. This layer aligns itself with the perspective of the viewer. Therefore you get the impression that the animation is closely linked to the drawing, even while moving the tablet.





* can be watched in the documentation
over there ->