Transformation of matter.
Natalia Pohla’s inspirations and dreams, relieved of logic and dimension, end up, as an intuitive urge, in a creative process. As a professional photographer, she is not interested in the hustle and bustle of the environment – it is rather the stillness of the moment, a personal reflection surface, as a time journey into the past, which awakens her desires and immediately goes hand in hand with forms and shapes.
Pohla enjoys details that she consciously and unconsciously put together to form a new constitution. The artist appreciates this unpredictability, because the end product can be both an extension and a deconstruction of the beginning. In addition, Pohla understands it as a necessity to allow the observing subject of her works the freedom to find one’s own conclusions – without using any decisive visuality or message. Pohla’s works reveal a wide range of techniques and are not subject to artistic categorization.
Literature and language also belong to Pohla’s driving forces. The commonality of Brodsky and her thoughts becomes visible: the desire for the thematization of time and matter. The inanimate objects in Pohla’s illustrations claim his own controversial spirit and become a human pillion. Their worlds include chairs, beds, tables and lamps that fight absurdly or even obscenely for survival. The Russian Nobel Prize winner also observed and analyzed the existence and agony of the material. For example, he dedicates one of his most important poems to a simple chair and elevates this subject to part of the language, the immaterial and thus also the eternal. The phenomenon of time has an incalculable significance in Pohla’s works, as it often speaks of “return processes”, a process, as deformation or restoration of the given, in order to fill the beloved matter with a new life and thus to abolish the transience of this form. Brodsky mentions that a chair finds its eternity by being replaced by the same model – a new chair, but no different from its predecessor – is basically the same chair. Thus, Natalia Pohla also seeks and finds her own definition of these phenomena by entering the cycle of the tangible, the hierarchical interplay of life and transience.