The renowned British newspaper The Guardian called Jorinde Voigt a “rising star” on the German art scene. For around ten years she has been steadily developing a semiotic system in her drawings that interweaves subjectivity and systematics, spontaneity and meticulousness, chaos and order, poetry and science. Through her philosophical drawing process she undertakes the attempt to reveal complex phenomena from our environment and culture in visual compositions founded upon certain parameters. The starting point for Voigt’s current series of works, Ludwig van Beethoven, Sonate 1–32, comprises the musical scores for the cycle of piano sonatas that Beethoven composed in the late 18th and early 19th centuries, which has been called the “New Testament of music.” Here, the artist does not strive to illustrate or interpret the music; rather, she was more concerned with researching perception, and “developing a way of writing that extracts the emotional spectrum inscribed in Beethoven’s scores”—in other words, to survey the invisible.We are very pleased to be able to offer you Jorinde Voigt’s large-format Collector’s Edition on Beethoven’s last piano sonata, number 32, which reveals the special allure of her art. It is a thoroughly fascinating weave of lines and notes, simultaneously quiet and fierce, a piece between the figurative and the abstract, drawing and writing, form and decomposition. “My work is like music,” says the artist, “you can enjoy it even if you can’t read music.”
