Bach’s object troves and drawings express collective psychological themes with all of its conflict and vulnerability. Her interests lie in surrealist automatism and the potent symbols of the unconscious. In contemporary life nature does battle with the artificial constructs of man, the physical and the virtual collide. Images of the body get distorted, the synthetic, like plastic surgery, has become an everyday routine.

Process, materiality, and the body are central to her practice. In the main space will be a sculpture entitled An Infinite Disclosure, resembling the human body made of sand. The body is disproportionate in size and connected to the walls of the space through multiple constructions like steel and silicon tubes. Tying the sculpture into space, there is a gesture of the surrender of the body. On the upper floor will be the installation Clouds. Placed on a pedestal in the center of the space is a taxidermied German Sheppard, its belly covered by a gold biomorphic convex mirror. Installed on the walls are drawings, photographs, and water colors titled Imprints of a Floating World. This disparate arrangement hovers between the micro and macro with all other variances it generates.

Bettina Bach takes us on a mental exercise to reflect on the possible loss of individuality and autonomy. Overloaded by data both trivial and novel she looks to cut through the noise of contemporary life suggesting that technology cannot overcome the surrounding global entropy. Seeking a way out of the bewildering digital maze and back to the real and empirical she looks at an unspeakably complex world with clear eyes. Something indefinable, unique, and sublime.

Bettina Bach has exhibited throughout Europe. Her last exhibition was shown at Annette de Keyser Gallery in Antwerp, Belgium. She has published artist books as well an ongoing series of poetic writings titled ‘Collagenes Fragment’.