vienna

View of “Sofie Thorsen,” 2014. Foreground: Screen 2, 3, 4, 2014. Background: Screens Within Screens/1 (detail), 2014.

Sofie Thorsen

Krobath | Wien

View of “Sofie Thorsen,” 2014. Foreground: Screen 2, 3, 4, 2014. Background: Screens Within Screens/1 (detail), 2014.

“Just as axonometric projection eliminates every fixed, unique viewpoint,” writes Yve-Alain Bois in his essay “Metamorphoses of Axonometry” (1981/1983), “so it has been used throughout history in a multiple, contradictory fashion.” Sofie Thorsen’s recent work evokes parallel complexity, exploring axonometry through wall drawings and panels in a series of “Screens Within Screens,” 2014. While this title refers to one specific component of her work on view—meshes of black-line wall drawings executed on three of Krobath’s five walls—it also describes the multiplication and interplay of distinct yet similar perspectives that defined the entire show.

Whether on the walls or discrete panels, Thorsen played here with the builder’s chalk line, a tool conventionally used to plot structure in space with simple precision, and so a fascinating one for axonometric studies. From even

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